Terrence Malick’s latest game of twiddle sticks cinema peppers the landscape of celebrity ennui with vacuous narrative threads and listless visual poetry. A meandering, overlong death march towards nothingness, the latest from the American auteur is a showcase of a man who’s more than worn out his welcome, who has drip-dried every ounce of juice from the same re-wrung fruit but still yet splashed it up on the screen like a car wreck. Anyone familiar with Malick’s filmography knows to expect little more of Knight of Cups than Christian Bale wandering the corridors of celebrity mansions, beautiful beach fronts and abandoned, dilapidated buildings while whispered trite reveries titter on in the background, theoretically contributing to a greater sense of purpose (that is just not there). In that regard, Malick has played to his devout audience bullheadedly, ignoring any and all critiques of his last critical flounder, To The Wonder, pursuing his own self-parodying style to pertinacious rigidity. Read More
Adam McKay capped off his 2010 absurdist comedy starring Mark Wahlberg and Will Ferrell with an out-of-field infographic featuring the numerics on Bernie Madoff’s Ponzi Scheme, bailout statistics and insulting ratios between executive and average employee compensation. A strangely politicized move at the time, especially considering chasing the heels of a movie where ho bos band together to have coitus in a Prius, but one that makes sense in the context of McKay’s star-studded passion project The Big Short. Read More
If there’s one thing Ridley Scott‘s Exodus: Gods and Kings gets right it’s the amount of hairstyles Christian Bale can rock in one movie. I stopped counting after about the eight iteration of mangy hair/trim beard to mangy beard/trim hair transformation. Eventually some gray enters the mix. It’s very life affirming.
That ever changing facial hairiness belongs to Moses, the badass war commander from the Bible. See you may mistakenly remember Moses as a peace loving, water-parting, commandment-carrying lover of all things Hebrew but Scott’s film reminds us of his true roots: slicin’ and dicin’ Barbarian hordes. Because what is a Ridley Scott movie without scene of “civilized” warriors running down rudimentary inferiors? In 3D, it’s all the more punishing.
Moses starts the film as a Prince of Egypt, a devout servant to the Egyptian throne and underling to the one and only Jesus (John Turturro with drawn on eyebrows). Moses is the cousin to hairless heir Rhamses, an antagonist with a serious case of the Charlie Browns and an even worse case of miscasting. Moses advices Rhamses in matters of … uh… untold things? and tries to quell his overly developed Commodus qualities by being sword twinsies. Plucked right from Gladiator, Jesus (ok fine, Turturro’s real name is Seti) tells Moses he wishes that it could be him who takes the reins after his demise, but alas! that vexing bloodline thing! After a fraudulent Ben Mendelsohn ousts Moses as a Hebrew with a birthright (that being a birthright to drown in a river like all those other pesky Hebrew babies), Rhamses throws a hissy and gives Moses the boot from his kingdom of pyramids and cat statues. Plagues follow.
For what feels like forty days and forty nights, the film is as much of a slog as its title implies. The diaspora of narrative is as thinned out as Moses’ herd of hungry hungry Hebrews. No stone is left unturned as the screenplay by committee (four credited screenwriters) make room for just about every uninteresting element in Moses’ 120 year long life. See Moses struggle with leaving his (Muslim?) family, Moses trekking there and back again and then back again and then back again, Moses’ teach his flock to rise and rise again until lambs turn to lions and, finally, Moses waiting horrified in the wings as God unleashes a lashing of super gnarly pandemics.
Squatting somewhere on a fence between super-naturalism and realism, Exodus never can make up its mind about how pragmatic it wants its divinity to be. The whole celestial curse comes with a footnote of “How the Plagues Could Have Actually Happened” (narrated by the film’s best Ewen Bremmer lookalike) that mostly involves alligator fights and acne. As things heat into a realm of “don’t mention it” magical realism, a deathly hallow of blackness consumes the lives of first borns a big fat dementor. When Scott gets around to revealing God as a neatly shaved, petulant child with an overdeveloped sense of vengeance, things get laughable.
Bale, as always, is up to the task, even if the film itself is not. He gives his all to Moses. Both the battle-worn soldier and the identity-confused harbinger of commandments are juicy with Bale’s overzealous commitment to character. The rest of the performances are disposable at best. Jesse Pinkman (Aaron Paul, who FEELS NO PAIN!!!!) peeks around corners and catch Moses in the act of talking to God (aka talking to a bush like a madman) not once, not twice but a heaving four times.
Ben Kingsley shows up because it’s a movie about Egypt so Ben Kingsley has to show up. Signourney Weaver is stuffed inside some horrendous Egyptian dress to spout out some vitriol about something or other and then never reappear. But it’s Edgerton who suffers most under the weight of Rhamses’ stupidly whitewashed part. The character is dumb enough before draping itself in pale yellow anacondas.
To watch Exodus is to endure exodus. At 150 mins, it’s easily one of the most taxing films of the year and surely one of its least inspired blockbusters. Darren Aronofsky struggled to find his footing in Noah and misstepped more than once, but at least there was some kind of palpable driving force behind that film. Here, it’s a challenge to make heads or tails of the intent. It seems like a $140 million dollar tax write off starring Christian Bale’s hair-growing abilities.
With the majority of 2013 awards winding down and the Oscars gearing up for next month, it’s time for me to reflect on the best parts about last year’s films. I’ve already published my top ten list alongside the absolute worst movies of the year but with these awards, I focus on the performances, direction, music, scene work and artistry of 2013.
At first, I tried to pigeonhole five nominees into each category but found that didn’t give me enough leeway to recognize all the talent I wanted to. When I then expanded to ten, it felt like there were times where I would be putting names down to fill up spots and didn’t really work for me either. So, instead of making an arbitrary number of nominees for each category, I opted to just recognize as many people as I saw fit in each category. So while the best actor category has 11 names of note, best foreign film only had 6 nominees and so forth. I know a lot of these may see overlap with other award nominations but I tried to recognize talent from all walks, the old to the new, and award what stood out as my personal favorites.
Look out for a short breakdown in the actors and directors sections but the other categories speak for themselves.
WINNER: Leonardo DiCaprio ‘The Wolf of Wall Street’
Runner Up: Christian Bale ‘Out of the Furance’ & ‘American Hustle’
Honorable Mention: Ethan Hawke ‘Before Midnight’
Matthew McConaughey ‘Dallas Buyers Club’ & ‘Mud’
Joaquin Phoenix ‘Her’
Mads Mikkelsen ‘The Hunt’
Chiwetel Elijofor ’12 Years a Slave’
Bruce Dern ‘Nebraska’
Tom Hanks ‘Captain Phillips’
Michael B. Jordan ‘Fruitvale Station’
It’s no secret that I’m a big Leonardo DiCaprio fan and it’s performances like his in The Wolf of Wall Street that earns him such a high ranking amongst my favorite working actors. With manic physicality, hypnotizing stage presence and wonderfully potent comedic timing, his take on amoral but lovin’ it Jordan Belfort is a role to remember. Christian Bale did wonders in Out of the Furnace and, even though I wasn’t head over heels for American Hustle, his performance there was nothing to balk at and one of the strongest features of the film. The most underrated performance of the year is Ethan Hawke who embodied humanity and boyish charm in my favorite film of the year Before Midnight. The film rests squarely on his and Julie Delpy‘s compotent shoulders and had their performances been any less, the impact wouldn’t have been nearly what it was.
Best Supporting Actor:
WINNER: Jared Leto ‘Dallas Buyers Club’
Runner Up: Jonah Hill ‘The Wolf of Wall Street’
Honorable Mention: Geoffrey Rush ‘The Book Thief’
Woody Harrelson ‘Out of the Furnace’
Michael Fassbender ’12 Years a Slave’
Barkhad Abdi ‘Captain Phillips’
Ben Foster ‘Lone Survivor’
Daniel Bruhl ‘Rush’
Matthew McConaughey ‘The Wolf of Wall Street’
Alexander Skaarsgard ‘What Maisie Knew’
Another crowded category, I had to go with a somewhat calculated choice, a man more than likely to win at the Academy Awards this year, Jared Leto. His performance, almost moreso than Matthew McConaughey‘s, grounds the heartbreaking tale of Dallas Buyers Club and brings humanity to those that are too often dehumanized. On the other side of the coin, Jonah Hill was a riot in The Wolf of Wall Street and between his introductory scene and subsequent cousin soliloquy and the unhinged energy he brings to the Lemmons scene, his is one of the most unforgettable performances of the year. Another under-appreciated role takes my honorable mention slot with Geoffrey Rush‘s lovely performance in the otherwise forgettable The Book Thief. Rush is an acting giant and watching him effortlessly capture our sympathy just goes to show his monumental range.
WINNER: Meryl Streep ‘August: Osage County’
Runner Up: Julie Delpy ‘Before Midnight’
Honorable Mention: Scarlett Johansson ‘Her’
Cate Blanchett ‘Blue Jasmine’
Brie Larson ‘Short Term 12’
Judi Dench ‘Philomena’
Adele Exarchopoulos ‘Blue is the Warmest Color’
Shailene Woodley ‘The Spectacular Now’
Greta Gerwig ‘Frances Ha’
Emma Thompson ‘Saving Mr. Banks’
I know Cate Blanchett is the name on everyone’s lips right now and there’s no denying that her performance is a showstopper but, for me, was not quite the most impressive of the year. Speaking of cinematic giants, I just couldn’t help but give my top award to Meryl Streep for her poisonous performance in the ensemble drama August: Osage County. Streep is a chameleon and we’re used to seeing her, for the most part, play loveable roles so seeing her transform into an utterly despicable train wreck of a pill popper showcases why she is the monolithic actress she is. Watching Julie Delpy embody the role of Celine for the third (or fourth if you consider Waking Life) time, you can see how much she has sank into this role and it’s simply a beauty to behold. Although deemed ineligible for the Oscars, Scarlett Johansson is able to achieve wonders with just her voice and deserves a pile of praise for that.
Best Supporting Actress:
WINNER: Julia Roberts “August: Osage County”
Runner Up: Margot Robbie “The Wolf of Wall Street”
Honorable Mention: Kristen Scott Thomas ‘Only God Forgives’
Octavia Spenser ‘Fruitvale Station’
Jennifer Lawrence ‘American Hustle’
June Squibb ‘Nebraska’
Lupita Nyong’o ’12 Years a Slave’
Emily Watson ‘The Book Thief’
Melissa Leo ‘Prisoners’
Easily the least impressive of the four acting categories, the best supporting actress category just didn’t have quite as much to offer as the rest did this year. Going through my nominees, it was hard to choose a top spot because all were commendable but none were absolutely unforgettable. I would hardly consider Julia Roberts as someone whose films I anticipate so was caught offguard by her fantastic work in August: Osage County. She holds her own against Streep and at times even shows her up. Color me impressed. I gave the second slot to Margot Robbie of The Wolf of Wall Street because of an unforgettable scene she shares with DiCaprio that’s sexy, tortuous and hysterical all at once and would have been nothing without the presence she brings to the scene. And for all the flak Only God Forgives caught for lacking dialogue, Kristen Scott Thomas stood out as the only character with true personality and she absolutely chewed through her deluded sanctimony. She’s menacing, repulsive and commanding and totally owns every scene she’s in. And just to preempt those offended by my lack of pedastalizing Academy darling Jennifer Lawrence, I enjoyed what she did in American Hustle but could never really take her character seriously. It was fun but not near worthy the level of praise being heaped on. And Lupita Nyong’o was certainly stunning in her 12 Years a Slave scenes but remember, this is my favorites and her performance is nothing less than a chore to watch.
WINNER: Spike Jonze ‘Her’
Runner Up: Richard Linklater ‘Before Midnight’
Honorable Mention: Steve McQueen ’12 Years a Slave’
Martin Scorsese ‘The Wolf of Wall Street’
Jean-Marc Valee ‘Dallas Buyers Club’
Alexander Payne ‘Nebraska’
Denis Villeneuve ‘Prisoners’
Alfonso Cuaron ‘Gravity’
Destin Cretton ’12 Years a Slave’
Coen Bros ‘Inside Llewyn Davis’
I have to give a leg up to the director/writer combos so it’s no surprise that Spike Jonze has secured the top position. The humanity he brings to this technological world and the insight he’s able to provide is simply stunning, aided by his sharp visual style and realistic futurism. Richard Linklater may not be the world’ most hands on director but the palpably freedom he affords his actors gives them the capacity to create the caliber of tender moments we see in Before Midnight. He’s no bleeding heart but he’s not quite a cynic either and I love watching the way he sees the world. On the more difficult side of things, I’ve seen all three of Steve McQueen‘s films and, though this comment may be hotly debated, think 12 Years a Slave is actually his least tortuous. At least to watch. It’s an amazing effort that drags us through hell and yet there is a string of hope that runs throughout the story. I guess that only someone from outside of the states could bring such honesty and power to a distinctly American story.
WINNER: American Hustle
Runner Up: The Wolf of Wall Street
Honorable Mention: August: Osage County
12 Years a Slave
This is the End
WINNER: Sean Bobbitt ’12 Years A Slave’
Runner Up: Emmanuel Lubezki ‘Gravity’
Honorable Mention: Roger Deakins ‘Prisoners’
Phedon Papamichael ‘Nebraska’
Hoyte Van Hoytema ‘Her’
Bruno Delbonnel ‘Inside Llewyn Davis’
John R. Leonetti ‘The Conjuring’
Yves Bélanger ‘Lawrence Anyways’
Best Foreign Film
WINNER: The Hunt
Runner Up: Laurence Anyways
Honorable Mention: Populaire
Blue is the Warmest Color
Crystal Fairy and the Magical Cactus
WINNER: The Act of Killing
Runner Up: Cutie and the Boxer
Honorable Mention: Dirty Wars
The Crash Reel
WINNER: “Fare Thee Well” – Inside Llewyn Davis
Runner Up: “Young and Beautiful” – Great Gatsby
Honorable Mention: “Doby” – Anchorman 2: The Journey Continues
“Please Mr. Kennedy – Inside Llewy6n Davis
“The Moon Song – Inside Llewyn Davis
“In Summer – Frozen
“Oblivion” – Oblivion
WINNER: Her ‘When it All Goes Dark’
Runner Up: The Wolf of Wall Street “Lemmons 714”
Honorable Mention: Before Midnight ‘Letter from the Future’
Captain Phillips “Check Up”
August: Osage “Family Dinner”
Nebraska “Mt. Rushmore”
This is the End “Backstreets Back”
Gravity ‘Opening Sequence’
Out of the Furnace ‘Hot Dog’
Inside Llewyn Davis ‘Please Mr. Kennedy’
The Conjuring “Basement Exorcism”
Lawrence Anyways “It’s Raining Clothes”
I’d love to hear where you guys agree and disagree and would encourage you to share your own lists in the comments section below.
Directed by David O. Russell
Starring Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence, Jeremy Renner, Louis C.K., Michael Pena, Robert De Niro
However great all of the performances in American Hustle are, great performances do not a great movie make. This kooky tale of maladjusted thieves, sleezy politicians and unscrupulous government employees is rich with standout performances – particularly from proven powerhouses Christian Bale and Jennifer Lawrence – but director David O. Russell‘s identity as an “actor’s director” has taken precedence over his being an effective storyteller.
The film opens with a telling long shot in which Bale’s Irving Rosenfeld is going about the delicate process of putting together his elaborate comb-over. He’s got little hair to work with – and the thatched mop he’s got to work with is straggly and thin – so he glues clumps of hair-like substance to rake the real hair over. The final product isn’t pretty but it’s better than before. This strange but captivating opening scene is an unintentional metaphor for the movie at large – a little bit of story, padded with movie-like substance, and combed over with the icing that is these great performances. It may look passable when all is said and done but you have to know that inside, it’s a bit hollow.
Post-comb job scene, we discover we’re in media res con, somewhere halfway down the line where Irving has teamed with Bradley Cooper‘s Richie DiMaso and Amy Adams‘ Sydney Prosser. They’re on their way to bribe a pompadoured Jeremy Renner‘s Mayor Carmine Polito because… well we find out later. But rather than set us on the edge of our seats with this choice to begin in the midst of things, we’re only slightly intrigued and are hardly left anticipating what the hell is gonna happen next. This isn’t Fight Club. There isn’t a gun in anyone’s mouth. So why bother starting somewhere down the line at all if that moment is just arbitrary? While this hardly creates a huge issue story or structure-wise, it is a symptom of the larger issues at play.
Since American Hustle is a story about con men told through the lens of various con men (Bale, Adams and Cooper each provide voice-over narration), we’re never really sure who is and who isn’t reliable narrator. While this worked wonders for the likes of The Usual Suspects (although I personally was never won over by that film), the effect here is exaggeratedly diminished and feels like a last-minute attempt to pull the rug from beneath the audience’s feet rather than an astonishing story turn.
As for the variety of voice-over work that seeks to fill in the blanks on character’s histories, backstories, relationships and anything else that passes for pertinent information, there is definitely far too much on the table. Having one narrator is fine (in the right circumstances) but having three is plain overkill. If anything, it’s an indication that O. Russell needed to patch up the narrative and beef up scenes shared between characters. Infamous as a story crutch, voice over is very hit or miss and here, it’s mostly a miss. Show, don’t tell. It’s filmmaking 101.
Even with all the disappointment found in the story’s patchiness, American Hustle does have one thing in spades: fantastic performances. Everybody in the cast shines in their distinctive roles, each throbbing with eccentricity and lighting up the scenes beyond anything going on behind the camera. Assured yet another nomination at this year’s ceremonies, Lawrence proves that her Academy Award was no fluke. Her haphazard Rosalyn is a revelation and whenever she pops up she steals the scene. Her riotous “science oven” scene is sure to be the talk of the town come Christmas.
Bale too is on his A-game, offering another performance in which he not only completely changes his body-type but his persona entire. Character-wise, he’s painted with complexity and jostles back and forth between empirical confidence and shady anxiety with the effortlessness of an acrobat. Physically, his swinty eyes and schlubby build is a whole new ballpark for the usually hunky Bale. Although he’s gained quite the reputation for his physical transformations, there’s always something more to his embodying his characters that goes far beyond physicality. The man is a chameleon and, once more, he’s able to convince us of that he is someone else entirely.
Cooper’s zany FBI agent Richie DiMago also steals scenes like its his job. His manic behavior and shotgun psyche are built for an actor’s showcase and Cooper doesn’t fail the character. While DiMago lacks the roundedness of Cooper’s Silver Linings Playbook headliner, Pat, he is truly an actor coming into his own, proving that he can be oh so much more than just a comic actor. For her part, Adams also shows off why she is so valued in the thespian community even though the script doesn’t provide her with as many flashy moments as her co-stars. So though she tends to fall to the back of the pack in terms of wowing performances, she is still as solid as ever.
Smaller bit roles from Renner, Louis C.K., Michael Peña, and a quick, uncredited pit stop with Robert De Niro all have their moment in the sun and help to shape American Hustle into what could confidently be called the best ensemble performance of the year. As I mentioned earlier though, great performances are only one faction of a film’s impact and although the acting is this movie is grade-A stuff, the story lingers around a C.
You could probably also say that my expectations were too high going into American Hustle (I was ready to jam it in my top ten before even seeing it) but I don’t think that really accounts for all the disappointment found here. Just writing this review and finding out that the movie was over two-hours long shocked me. I hardly remember it being nearing two-hours and there was surely no need for the length in a movie that already felt light on story. Then again, maybe that fact that I didn’t notice how long it was is an indication of my enjoying the film. And don’t get me wrong, the performances are inspired, fine-tuned, and just plain lovely and the film itself is a lot of fun. Unfortunately though, it stops there. Instead of reaching for the stars, it settles with being fun and stuffed with great acting. Next time, I hope O. Russell pushes for that extra mile.
“Out of the Furnace”
Directed by Scott Cooper
Starring Christian Bale, Casey Affleck, Woody Harrelson, Willem Dafoe, Zoe Saldana, Forest Whitaker
Crime, Drama, Thriller
Out of the Furnace is not the movie you expect, it’s not quite the movie you think you want, and it’s certainly not a movie you’ll see coming, but it is one of the best movies of 2013. Petering along a solemn road of America as industrialized hellhole, the jet-black tone and snail’s pace cadence of the film may prove too overbearing for some but those willing to dive into the mire will find a film overflowing with themes of chaotic grace, personal sacrifice, ego death, spiritual deterioration, and unbounded duty. Many similarities to early Kurosawa samurai films and Drive – which itself is largely plotted like a samurai film – emerge and make the film rich with subtext, even though unearthing that subtext is a bit of a harrowing chore.
While the dark material present in the film – beat downs and drugs, depression (economic and mental) and murder – may yield endlessly gloomy circumstances, a trio of standout performances from Christian Bale, Casey Affleck, and Woody Harrelson showcases actors at the top of their game that keep you glued to the screen and cemented into the emotional stakes of the film. The first scene involving a dead-eyed Harrelson, a harlot, and a hotdog will take your breath away and doesn’t let up from there.
Cue Russell Baze (Bale), a genuinely good guy of the strong and silent persuasion, and lil brother Rodney (Affleck), a four-tour Iraq war vet trying to find his footing after his last deployment. In the barren, has-been Rustbelt of Pennsylvania, each face their own economic struggles while also, and more importantly, vying with their personal demons. Nightmares populated by decapitated babies, massacred friends, and piles of hacked off feet haunt Rodney, who can’t escape these grotesque images of war irrevocably burned into his tender mind. Russell, on the other hand, has never seen combat, but a drunk driving incident, where he was responsible for the death of a child, provides him with his own demons to combat.
Both men are bent by society and by themselves and seek means for redemption. As Rodney turns to bare-knuckle underground fighting – a gig he says is just for the money but we suspect that these acts of supreme self-mutilation provide some fleeting escape for his tormented soul – Russell courts serenity in the things of everyday living, like fixing up his Dad’s house. Also finding solace in the gentle monotony of manual labor at the soon-to-close steel mill, Russell tries to move past his spotted history while Rodney’s battle-worn psyche prefers to bask in dreams of grandeur; a grass is greener on the other side mentality that sees him losing his path and descending into Harrelson’s Harlan DeGroat personal circle of hell.
In Russell, Rodney, and their fading pops, the Baze family represents the backbone of America: the laborer, the solider, and the invalid; the maker, the doer, and the needy. These three are a cross section of blue collar America caught in a deteriorating socioeconomic climate. Juxtaposed against DeGroat’s wealth (his financial stock culled from dealing crank and heroin) and utterly maniacal temperature, the Baze’s are the 99% to DeGroat’s brand of “elite” class. As they struggle and toil, he lumbers around, shooting spikes of crank into the crevices of his toes and growling intimidation at his underlings while his stacks grow higher. But rather than beat these metaphors over the head, the burrowing screenplay from Brad Ingelsby and director Scott Cooper is wildly subtle, allowing you to make up your interpretation about many elements scattered throughout the film.
While the marketing has played up aspects of this film as a gritty revenge story, these elements don’t really emerge until the final act (and I would strongly urge you not to watch any trailers for Out of the Furnace as they give away 90% of the film.) Instead, more than anything, this is a tale of two brothers who have lost their way.
Making up their own humble sub-nuclear unit, Russell takes the role of big brother to distant but loving Rodney very seriously. When Rodney wracks up a debt gambling on racehorses, Russell plays provider, silently going to the bookie, a pitch perfect Willem Dafoe, and silently pays his struggling brother’s debts. But unlike Rodney, Russell doesn’t crave praise, just peace. As Rodney gets deeper into DeGroat’s playground, Russel loses his opinions of peaceful negotiation and must take up arms to fight for his brother’s honor.
From playing the watchful protector, Russell evolves from almost effeminate – a character trait hinted at through his soft spoken intonation and general aversion to conflict and violence – to a stone cold but silently compassionate hunter of men. Like a shepherd left to herd his flock, one can only rely on his shepherd’s crook for so long. When the wolves come, it’s time to take the old rifle out of storage and switch to old testament mode. And, like the wrathful God of the old testament, Russel doles out his own variety of penalty. Again, biblical themes are open to interpretation, and may entirely just be something that I alone got out of the film, but there is something palpably holy in Russell’s aura and his journey in the film.
As Russell, Bale puts in one of the strongest performances of his celebrated and illustrious career. Entirely captivating and utterly committed, the greatness of his performance is hard to put your finger on but it shines from beginning to end. The final scene we spend with Russell juxtaposed against a heartbreaking sequence shared with ex-lover Lena (Zoe Saldana) showcase Bale’s awesome range. Providing yet another masterclass of acting prowess, Bale excels at making his craft look effortless. It’s as if he’s changed skins since playing the shleppy Irving in American Hustle as he has once transformed himself physically to “become” someone new.
Affleck too puts in a performance for the books and has finally begun to prove to this previously unconvinced critic that he may just be great actor. He balances camaraderie with solitude, laughs with anguish while having to sell his character both as a physical brute and an emotional mess and we buy every second of it. For his part, Harrelson’s DeGroat is the best, and most vile, villain of 2013. Despicable though he may be, his bridge-burning demeanor turns being cavalier into a bloodcurdling game of conversation, making him just about the worst person you could ever bump into at a bar. And though Saldana and a gruff-voiced Forest Whitaker don’t get the screen time they deserve, both bring complex elements to characters that could easily have been one-note and forgettable.
Adding even more depth to the film, the technical elements racket up the tension and help to accentuate the ripe metaphorical elements planted throughout. Dickon Hinchliffe‘s score, largely leaning on Pearl Jam’s “Release,” lends itself to the harrowing nature of the film as bleak yet bold cinematography from Masanobu Takayanagi puts the rust back in Rustbelt. This is a dirty, decaying world the Bazes populate and the technical elements help prop up that fact, giving weight to the film and the metaphorical elements boiling within. All these elements – the stellar performances, crisp and dark direction, surging score, crunchy landscapes, an open-ended conclusion – all add up to a film that demands to be seen on the big screen and deserves to be dissected by its viewers.
As the Oscar race heats up more and more by the minute, American Hustle remains one of the biggest unknown contenders. Directed by David O. Russell and featuring a truly all-star cast of Christian Bale, Bradley Cooper, Jennifer Lawrence, Jeremy Renner, Robert De Niro, Michael Peña, Louis C.K. and Amy Adams, American Hustle could potentially be O. Russell’s third major Oscar player in a row.
With a year crowded with great performances, there’s no saying if O. Russell’s acting nomination hot streak will continue or who of his cast will receive the bulk of the accolades. Taking a look at this second trailer, who do you think looks the most likely to snag a nom?
American Hustle is directed by David O. Russell and stars Christian Bale, Bradley Cooper, Jennifer Lawrence, Jeremy Renner, Robert De Niro, Michael Peña, Louis C.K. and Amy Adams. It opens in limited theaters on December 13 and opens wide on December 25.