Out in Theaters: THE WOLF OF WALL STREET

December 24, 2013 by Matt Oakes Posted in Out in Theaters Tagged Jean Dujardin, Jonah Hill, Kyle Chandler, Leonardo DiCaprio, Matthew McConaughey, Out in Theaters, Reviews, The Wolf of Wall Street

“The Wolf of Wall Street”
Directed by Martin Scorsese
Starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Jean Dujardin, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Bernthal, Jon Favreau, Cristin Milioti
Biography, Comedy, Crime
180 Mins
R

Martin Scorsese‘s The Wolf of Wall Street is a bombastic raunchfest spilling over with feverish humor and held in place by vibrant direction from Martin Scorsese and unhinged performances from its gifted cast. Sprawling and episodic, this “greed is great” epic is not only the funniest movie of the year, not only has one of the most outstanding performances in recent history, and not only is one of the most explicit films to hit the theaters under the guise of an R-rating, but, like icing on the proverbial cake, it offers a colossally poignant and timely cultural deconstruction of the financial institutions on which our country depends. And though it runs for exactly three hours, I’d watch this strung-out saga again in a second. A messy masterpiece on all fronts, The Wolf of Wall Street is a towering achievement.

We know that reality is often stranger than fiction but Scorsese’s encapsulation of the world of Jordan Belfort and his scurrying dervishes is like lifting a rock to find a thriving hive of ants equipped with Tony Montana-worthy piles of cocaine and strippers decked out in ever-fashionable neon beneath. Their iniquitous ways the stuff of adolescent male fantasies and their drug-fueled, deranged shenanigans straight from a Hunter S. Thompson memoir, Belfort is a modern day Dionysus. Taking the mantle of this larger-than-life imp of an investment banker, Leonardo DiCaprio is unholy goodness.

It’s no secret that I’m a massive fan of DiCaprio’s and a performance like this proves my continued faith in the multifarious thespian. Ranging from manic to disturbed, possessed to contemptible, his commanding performance scraps subtly for an off-the-walls buffet of theatrics. And though he never quite swallows the pill of reality, Belfort’s arc is splattered in sober doubt and drug-fueled confidence, always anchored by a megalomaniac’s grip on the destiny of those in his company. Twisting what it means to be generous, he takes from the rich and poor alike and distributes the riches amongst his legions of fanboy-like employees.

But for his however ethically corrupt he is, he’s got his own twisted sense of morality, at once misanthropic towards the world at large and a gentle guardian of his own flock of flunky stock pushers. His minions, led by a brilliantly toothy Jonah Hill, see him as the God he wants so badly to be.

Around the workplace, they call Belfort Wolfie; a nickname derived from his bullying brokering and his pick-up-the-scraps mentality. And as penny-stock pushers, Belfort and his henchmen turn scraps into millions, spinning gold from floss. Their office a carousal, Wolfie and Co.’s imperious rise to power is just too heinous to make up.

Beneath DiCaprio’s frantic and telescopic work as Belfort is a man feeding off his own energy. No matter how deluded Belfort can be, he’s a guy caught up in the moment, too high to not ride the waves of his own self-invented success. As an audience, we feed off the surge of energy too and let it drive us from scene to scene, always the intrigued voyeur.

And like a pitch-perfect backup singer, Hill’s Donnie Azoff (based on over-the-counter stock broker Danny Porush, who threatened to sue if they didn’t change his name) is the wind beneath DiCaprio’s wings. From the first time he steps onscreen, he demands our attention with his mammoth chompers and sleazy Long Island accent. He’s got sidekick so down pat that he may as well be the piggy Robin to Belfort’s wicked Batman. And no matter how brief his appearance is here, Matthew McConaughey is once again on fire. As a steadfast FBI agent, Kyle Chandler also breaks out of his comfort zone and puts in a performance worthy of such an accomplished cast.

Though lots of names have been tossed around for award recognition, Hill will assuredly be seeing his second (and here, more deserved) nomination for his work. His unique blend of drama and comedy is a staggering success and has knocked any skeptics off the fence in one fell, chompy swoop. And while DiCaprio’s performance here is a show for the ages, it may again go overlooked by the notoriously antiquated Academy. Regardless, he is the king of Hollywood and has proved it in spades with his astonishing work in Wolf.

But it’s not the performances alone that shine, as the movie flows smooth as butter. Looking at it as a whole, I wouldn’t want a single scene cut and that’s a testament to the seductive power of Scorsese’s film. With well over 500 counts of the f-bomb and enough female and male genitalia to perturb the most hip of parents, do be sure that you’re attending The Wolf of Wall Street with the right parties. This ain’t your grandma’s Scorsese.

A+

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Weekly Review 37: CANYONS, HOST, EPIC, THIEF, SIGHTSEERS, SCISSORHANDS, GRANDPA

December 22, 2013 by Matt Oakes Posted in Weekly Review Tagged 2013, Bad Grandpa, Edward Scissorhands, Epic, Identity Thief, Reviews, Sightseers, The Canyons, The Host, Weekly Review

The last of 2013 is upon us and I’ve been shoveling in just about as many films from the year as I can, building towards my awaiting best of/worst of lists and the second annual Silver Screen Riot Awards. At the theater, I closed out seeing the last films I would this year with Anchorman 2: The Legend Continues, August: Osage County, The Secret Life of Walter Mitty, and The Wolf of Wall Street. Reviews for all three to debut soon. Also check newly published reviews of Saving Mr. Banks, Inside Llewyn Davis, and American Hustle. At home though, I saw some of the worst, most unadulterated trash I’ve seen all year. Just pure garbage. But amongst the filth, I found a few hidden gems and finally watched some old classics. This might be the last installment of the year as the Holidays loom large and my time is going to be severely crunched.

THE CANYONS (2013)

In this utterly terribly film, Lindsay “Dead-Eyed” Logan and James “The Actual Pornstar” Deen have the chemistry of a brick and a rock. Beyond their impressively poor performer’s chops, the rest of the acting is atrocious, with each amazingly managing to be worse than the last. Paul Schrader‘s amateur porn-level direction seems like it’s trying to be different but it’s just confused and, there’s no tiptoeing around it, downright awful. Bret Easton Ellis, a reputable author dabbling for the first time in the script-writing business, loves to pen these drab, empty, trust-fund scumbags but the script here is either DOA or entirely misinterpreted by Schrader’s incompetent hand. The soulless LA landscape occupied by depraved, despicable people, who occasionally take their clothes off and bang (as if that’s any consolation for the horror that is watching this monstrosity) is signature Ellis but it lacks any irony, substituting tits for wit, meandering in his usual loose moral cesspool. Either way, he ought to probably stick to writing because there’s a reason this was rejected from both Sundance and SXSW for “quality issues”

F

THE HOST (2013)

Absent on entertainment, The Host makes Twilight look like an art film. With a script that makes fan fiction seem like Pulitzer material by comparison and features lines like “Kiss me like you want to get slapped,” it’s impossible to not scoff your way through this wildly ineffective disaster of a movie. Even if you took the grating voice-over work out (*shutters*) you’re still left with a film where absolutely nothing happens. Most certainly one of the worst movies of 2013 and probably up their amongst the worst movies of all time.

F

EPIC (2013)

It’s almost amazing how flat this animated feature is. It’s got all the expensive looking animated design but Epic struggles to make you care about in the least bit about this retread story. Like Rio, the voice work is transparent and completely fails to make us forget the celebrity names behind the characters. Most importantly though, the film is boring, lazy, and just more “there” than anything. The whole good-vs.-evil conceit works fine so long as there’s something beneath them. Here, that’s just not the case. A couple of comic moments from Aziz Ansari and Chris O’Dowd help to break up the monotony but the rest of the voice performers are straight out of the vanilla convention (Amanda Seyfried, Josh Hutcherson). I’m left wondering where the hell the name Epic came from as well since there is nothing the least bit epic about this epic failure.

D

SIGHTSEERS (2013)

An out-of-the-blue effort from deep English director Ben Wheatley, Sightseers is an untamed hologram of a vacation gone horribly wrong. Going into this blind is going to really boost your experience with it so I’m just try and skirt around any significant details. It’s easy to spot that the film was made on a paltry budget and a shame to see that it didn’t even make $50,000 dollars in US theaters but what can you expect from notoriously choosy American audiences (who would rather spend their money on Lone Ranger or another junky Hobbit flick). Although the project at first seems the work of amateurs, it really settles into its own and manages to be a fun, horrifying, thoughtful, and succinct experience.

B

IDENTITY THIEF (2013)

There’s hardly anything to say about this comedy entirely bereft of laughs. Identity Thief is nothing more than a totally forgettable clunker set on cruise control and left on the shoulders of the goodwill of its popular stars. Jason Bateman once again squanders his comic talent, playing a straight man to Melissa McCarthy‘s unpalatable identity thief. But rather than inject any genuine humor into the thing, all the “jokes” are culled from McCarthy letting loose a string of expletives or throwing karate chops at unexpected vocal chords. Beyond the pure laziness masquerading as humor, the third act dissolves into the saccharine melodrama that has no place in an R-rated comedy. All in all, what a waste of time.

D-

EDWARD SCISSORHANDS (1990)

In the process of trying to acquaint myself with Tim Burton‘s early and much-beloved work, I’m discovering a man oozing with passion. His character and set designs are as gothic and home-grown as ever and there is undeniably heart living in this project. Furthermore, this is without a doubt a weird Johnny Depp character and yet he’s still more relatable than the slew of weird characters he’s played for the last ten years. Beyond the scars, makeup and scissored hands, he’s a gentle giant struggling with his pure-heartedness and society’s uneasy alliance with him; the Beast to Winona Ryder’s Belle. It’s a shame that Burton has since turned to cheap remakes and Depp to hackneyed characterization because these are two men who really seemed to understand each other and their audience.

B

JACKASS: BAD GRANDPA (2013)

Without the ADHD framework of bopping between segments where Johnny Knoxville and crew get charged by bulls, launched from buildings, or have their scrotums assaulted in the most heinous of ways, it’s a little harder for the Jackass crew to keep our attention. Bad Grandpa relies on sentimentality and a loose narrative structure to involve us beyond cringing reactions and uproariously laughter. And while seeing Knoxville rocking old man makeup as Irving and taking little Billy under his wing in this hidden camera comedy does show an inkling of emotional storytelling rarely present in Jackass’s finest work, the social commentary present in Bruno and Borat is largely absent here. It’s no surprise that the bits that’ll work your funny bone hardest mostly rely on the easy humor of sharts and male anatomy but seeing little Jackson Nicoll steal the show from Knoxville was definitely out of left field and a pleasant surprise.

C

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Out in Theaters: ANCHORMAN 2: THE LEGEND CONTINUES

December 18, 2013 by Matt Oakes Posted in Out in Theaters Tagged Adam McKay, Anchorman 2: The Legend Continues, Christina Applegate, Comedies, David Koechner, Greg Kinnear, James Marsden, Kristen Wiig, Out in Theaters, Paul Rudd, Reviews, Steve Carrell, Will Ferrell 1 Comment

“Anchorman 2”
Directed by Adam McKay
Starring Will Ferrell, Paul Rudd, Steve Carrell, Christina Applegate, Kristen Wiig, James Marsden, David Koechner, Greg Kinnear
Comedy
119 Mins
PG-13

Following up a comedy classic like Anchorman is no easy task. In order to achieve a modicum of success, this sequel was already tasked with paying tribute to its predecessor while also setting itself far enough away so that it doesn’t seem like a play-by-play rehashing of the original. In this pursuit, Anchorman 2: The Legend Continues is a success. But while the first film had me in a constant state of stitches and continues to be a go-to favorite in the comedy stable, Anchorman 2 is far more spotted. Attempts to capture the comic vibrancy of men let off the leash fizzles with some performers more than others, revealing gags sautéed in randomness that come across as definitively hit-or-miss. And while more jokes land with a thud than you’d hope for, when it shines, it shines like the sweet diamond-crusted grills of Flava Flav. Read More

Out in Theaters: AMERICAN HUSTLE

December 16, 2013 by Matt Oakes Posted in Out in Theaters Tagged American Hustle, Amy Adams, Bradley Cooper, Christian Bale, David O. Russell, Jennifer Lawrence, Jeremy Renner, Louis C.K, Michael Pena, Out in Theaters, Reviews, Robert De Niro 4 Comments

“American Hustle”
Directed by David O. Russell
Starring Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence, Jeremy Renner, Louis C.K., Michael Pena, Robert De Niro
Crime, Drama
138 Mins
R

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.

B-

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Weekly Review 36: HUNT, PROPHET, O BROTHER, LAURENCE

December 15, 2013 by Matt Oakes Posted in Weekly Review Tagged A Prophet, Laurence Anyways, O Brother Where Art Thou, Reviews, The Hunt, Weekly Review

On the march to the end of the season, with only four more major releases to go for 2013, I crossed two big ticket items off the list with The Hobbit: The Desolation of Smaug offering just the brand of disappointment I was crossing my fingers against and Inside Llewyn Davis which has been growing on me all week since seeing it. But the really miraculous part of this week is how much great cinema I’ve seen at home. I can’t remember watching a string of films this solid in a long, long time and I’m a happy camper for it. I guess that’s what happens when you sign up for Netflix disks and pop on a collection of films you’ve been waiting to see. So let’s hop into all the goodies I watched at home.

THE HUNT (2013)

A ceaselessly powerful movie that’ll have you in fits of frustration, The Hunt is anchored by yet another career-defining performance from the always brilliant Mads Mikkelsen. It’s surely not the most accessible film of the year – it’s a Danish film about allegations of child molestation – but it explores victim psychology and crowd mentality with gripping truth. As school teacher Lucas (Mikkelsen) is accused of abusing one of his students, who so happens to be his best friend’s meek, doll-nosed daughter, we’re the only ones who know his innocence and see the town explode around him, acting against him at first with social rejection and later, violence. As things escalate and Lucas becomes an outright pariah, you’ll want to scream at the television. But every time you want to point the finger at someone or other, you find yourself slipping into their mindset and understanding where they’re coming from. In an impossible situation such as this, it all comes down to what we’re willing to believe and who you’re willing to trust.

A-

A PROPHET (2009)

Jacques Audiard‘s tale of a young French-Arab man rise inside the ranks of a prison mob is brimming with intrigue and stands as a sort of European Good Fellas. A gradual rise of power the likes of A Prophet will surely bring a slew of comparisons to Scorsese’s wok and for good reason. Audiard captures a similarly telescopic broadcast of a life, filtered down into a two-hour-plus film but still feels complete and massive. But he distinguishes his own style in the many off-kilter camera moves, intoxicating fuzzy screenshots, the use of language as a chess piece, all the while dividing the film up into succinct chapters that usually revolve around the introduction of a new character. Aided by an epic breakout from Tahar Rahim, A Prophet is a confidently made mobster movie that stands amongst the best.

A

O BROTHER WHERE ART THOU (2000)

I’m almost ashamed to say that I have never sat down and watched the entirety of O Brother Where Art Thou but it feels good to get it off my chest. Thankfully, it lived up to the high praise I’ve heard sung by hipsters and movie critics at large. Once again giving a story, which is a straggly update on Homer’s ‘The Odyssey’, a whole new set of legs than any of their previous work, the Coens continue a string of encyclopedic work that knows no bounds and dares journey into just about any territory they please. The hypnotic music, literary references, and band of stooges all help to carve a niche film the likes of none other that is easily recommended to just about anyone interested in music, comedy, or antiquity.

A

LAURENCE ANYWAYS (2013)

If you’re going to see one three-hour French-language film about star crossed lovers acclimating to a sexual identity crisis this year make it Laurence Anyways. First of all, you’ll sound so much more sophisticated when you one up all those wanna be know it alls babbling over Blue is the Warmest Color. Secondly, it’s a better film. With staggering performances from its two leads, decadent set and costume design, a throbbing score, and zesty direction, Laurence Anyways reaches emotional highs and blistering lows that only something this real and yet surreal could accomplish.

B+

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Out in Theaters: INSIDE LLEWYN DAVIS

December 14, 2013 by Matt Oakes Posted in Out in Theaters Tagged Carey Mulligan, Coen Bros, Garrett Hedlund, Inside Llewyn Davis, John Goodman, Justin Timberlake, Oscar Isaac 1 Comment

“Inside Llewyn Davis’
Directed by Joel and Ethan Coen
Starring Oscar Isaac, Carey Mulligan, Justin Timberlake, John Goodman, Adam Driver, Max Casella, Robin Bartlett, Ethan Phillips, Stark Sands
Drama, Music
105 Mins
R

“Can anything be both meaningful and aimless?” Joel and Ethan Coen ask in their latest film. Taking it from Llewyn Davis, the man and movie both, it appears so. But such is the nature of art. A masterpiece isn’t planned, nor is it something that can necessarily be blueprinted. Half the meaning of art is in the legwork itself; the getting there of it all. For within art as self-expression, there is no structure, no path towards inspiration, and no guarantee of success, even for your best work. And yet, to only give yourself half-heartedly to a craft that only stands a snowball’s chance in hell of finding an audience is self-defeating. Folk music, as we see here, isn’t just about singing songs, it’s the burden of searching for meaning, a modus operandi that looks a lot like vagrancy; an outré way of existing. Art is no hobby, Inside Llewyn Davis cries, it’s a lifestyle, and a tiring one at that.

As Llewyn Davis tries with fleeting enthusiasm to give his folk-sung artistry a last go around the Greenwich folk scene, he learns that art and commercialism could not be further polarized (the iPhone hadn’t been invented just yet). In an ironically staged twist of Coen Bros symmetry, this film, which is as far left of commercial as can be, is a piece of high art. As such, it’ll likely be shuffled away from the mainstream, bolstered only by Coen enthusiast’s enduring adoration, near-universal critical acclaim, and a dollop of love from the awards circuits. But though it’s reach may be limited, it is powerful. And as I’ve tried to preach in movie-related writings, it’s a film best served with a healthy serving of reflection, to be sought out by those who seek a deeper relationship with the films they watch.

Inside Llewyn Davis is a mood piece if there ever was any, rich with soulful folk ballads, colorful characters, and stripped of the usual framework that we call a story. As a microcosm of an era and a subculture, Davis, with his caustic demeanor, is the last man you would expect to lead a story. But for all his many faults, he lives and breathes folk music. His battered existence is the stuff straight from a hokum Bob Dylan lyric. What better subject for a film about a music genre that has by and large represented lost souls and losing investments than a gruff man fading from relevance before he was ever close to it in the first place?

Lumbering around aimless, Davis suffers from destiny lost. He’s recovering from the death of his best friend and musical partner and coming to the harsh acceptance that life has chewed him up, spit him out, and wants no further taste of him. But that’s hardly an excuse for such reprehensible behavior. Especially in front of the ladies!

Muses for Davis come and go with the change of the seasons and, through the power of suggestion and the here-again-there-again nature of Davis, we’re led to believe that he’s notorious for being loose with the ladies. Hell, he’s even slept with his best friend’s wife. But for all the poontang he reaps around town, he’s about as popular with any given lady after a sexual tryst as the music he sings. Doling out abortion money like its a hobby, Davis is the breed of sad, sorrowful ladies man who’s lifestyle is unbefitting of love. There’s only room for one love in his life and that’s his music, however mistreated it seems to be by the rest of the world.

When it comes to telling this tale of harmonious woe, the Coens turn the formula on its head. Rather than meeting a grumbling stick-in-the-mud who then spins his life around, when we meet Davis, he seems like a pretty decent guy. However, the more time we spent with him, the more we see him as an egocentric bastard, using up people’s goodwill and spitting them out like they were nothing to him. But it probably comes with the fact that he

Llewyn’s didactic approach to music has him looking down his nose at his peers – all of which, he has assured himself, are hacks or sell outs – and yet going nowhere fast for it. In such, he’s the Holden Caulfield of folk (and I guess that makes them “phonies”). But Davis is no troubled teenager. He’s a calloused man, hardened by disappointed, burdened with grief and buried in sorrow. The only thing that keeps him ticking is his geetar and his oh so lovely vocal cords. But each time Llewyn caws out a tune, coy as it may be, he is alive. Then, he retreats into something the broken man we know. As lively and rich as his soulful ballads are, he has become a shell. Without his tunes, I’m afraid there is nothing else left in this Oscar the Grouch.

After reading an early draft of the script, the Coens decided they needed more “tradition” in it and so we have Ulysses the cat. Davis’ moral compass is represented by this fat-faced, orange tabby cat who we meet in the opening shot of the film. Ulysses, just as much as Davis, guides us through this week-long saunter. As the film tracks the cat’s journey, we come to new conclusions about the mop-headed Llewyn, conclusions which will ultimately disappoint us and leave Davis heavy with shame.

Teeming with atmosphere, Inside Llewyn Davis captures the feel of grayness, that hard to swallow pill of depression. Even though it’s quite beautiful, Inside Llewyn Davis feels ugly. You can smell the stink of the smoke on your skin, and the nip of the chilly air when Davis walks into the New York streets sans proper winter wear. We shutter when he steps in a puddle, we empathize when he’s told, “I don’t see any money in it” as if that’s all that really matters.

Wet, downtrodden cinematography from Bruno Delbonnel helps to inform a New York that’s just as beat up as Davis himself. Even the most upbeat song of the film, sung to absolute perfection by Justin Timberlake‘s Jim and Adam Driver‘s Al Cody, is a plea against America’s fear of the uncertainty – the next battle against the Ruskos in a blossoming Cold War. That song, so aptly titled Please Mr. Kennedy is perfectly symbolic for the whole feature – and one of the most fun scens in all of 2013. It’s commercial crud and yet, it’s the one song you’ll be singing after the film wraps for days (Puh-puh-puh-please…). If only the whole movie had this upbeat sensibility, humor, and Driver’s timely baritone. But that’s a different movie entirely.

And yet there are a couple chunks to it that may as well be flown in from other films. The car scene with John Goodman seems like its from another movie entirely and, while propelling Llewyn to a climatic meeting with fate, seems a touch bloated for what we get out of it.

Blemishes and all, Inside Llewyn Davis is that rare movie that only the Coens could pull off. Backed by a killer soundtrack, a gloomy visual landscape, and a star-making performance from lead Oscar Isaac, it may be a film reserved for the minority but those lucky few sure will cherish it.

A-

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Sony's Spiderman Universe Gets VENOM and SINISTER SIX Spinoffs

December 14, 2013 by Matt Oakes Posted in Movie Announcements Tagged Andrew Garfield, Spiderman, Superhero, The Amazing Spiderman 2, The Sinister Six, Venom

The fellas over at Sony have been having a field day this month with their Spiderman properties. After the release of the latest trailer for The Amazing Spiderman 2, the interwebs stirred with spoiler discussions of what was to come next (as in, not this movie, but the movie after it). Hints towards both Vulture and Doc Ock suggested an eventual move towards a classic baddie collective that had fanboys flipping out like they were seeing The Avengers for the first time. From there, Sony further stirred the pot by releasing info that Spiderman himself, Andrew Garfield, was only signed for the first three Spiderman movies. As if that’s an actual conflict worthy of a story (the voices are telling me that that offer him… what is it?…more money! And then he signs! Lordie lordie!)

The latest announcement – standalone films for both The Sinister Six and Venom. Apparently Venom is a bit of an anti-hero in the comic books so his getting a standalone seems to make a modicum of sense (and has been something fans have pushed for for many, many years.) Few fell for Topher Grace‘s iteration of the iconic Spiderman enemy in Spiderman 3 so a reinvention of the character is a move that has been welcomely received. But while putting Venom in the spotlight might be a smart move, and a way to beef up this whole Expanded Universe thing that apparently every superhero movie in the world must do, the case for the Sinister Six sounds like a mess before it’s even started. I’m guessing they try some form of Avengers team-building but, assuming it doesn’t prominently feature Spiderman, I can’t imagine how they frame that film.

So, from my count, that makes four Amazing Spiderman movies on the platter with two spin offs and, don’t forget, the potential to have Spiderman join The Avengers (most likely for Avengers 7: Give Us All The Money). Superhero fatigue is trending like skinny jeans nowadays so I’ll save you the perfunctory sigh. If you can’t beat ’em, join ’em.

“SPIDARMAN DREAMCASTING LIST!
Leonardo DiCaprio as Doc Ock,
Christian Bale as Kraven the Hunter,
Tom Cruise as Mysterio,
Ryan Gosling as Sandman,
JGL as Vulture,
Jaimee Foxx as Electro.
How cool wood it b if all thez AMAZINBALLS acters played da SINSTER 6?! OMFG> LOLCATZ.”

Are you happy now?! Are you not entertained? ARE YOU NOT ENTERTAINED?!

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Out in Theaters: SAVING MR. BANKS

December 13, 2013 by Matt Oakes Posted in Out in Theaters Tagged B.J. Novak, Biography, Bradley Whitford, Colin Farrell, Disney, Emma Thompson, Jason Schwartzman, Out in Theaters, Paul Giamatti, Reviews, Saving Mr. Banks, Tom Hanks

“Saving Mr. Banks”
Directed by John Lee Hancock
Starring Emma Thompson, Tom Hanks, Paul Giamatti, B.J. Novak, Jason Schwartzman, Bradley Whitford, Colin Farrell, Annie Rose Buckley, Ruth Wilson, Rachel Griffiths
Biography, Comedy, Drama
125 Mins
PG-13

Saving Mr. Banks may as well have been called How Walt Disney Saved The Day From The Curmudgeonly P.L Travers. It’s as whitewashed a narrative as can be, oozing Disney hallmarks to reinvent the notorious asshat that is Walt Disney into a salt of the earth type inspirationally adept at picking himself up by his bootstraps. He’s the American Dream personified and he circles Emma Thompson‘s P.L. “put the milk in the tea first” Travers with the predatory knack of a hawk.

Travers, whose opaque Britishness sticks out like Andre the Giant’s thumb if it’d been slammed in a car door, is a woman desperately struggling to maintain artistic control of a character she’s poured her very heart and soul into: Mary Poppins. Having either run dry in the ideas department or simply too stubborn to pen another Poppins adventure, Travers straddles the line of bankruptcy. Her only option lays in Walt Disney, who’s been hounding after the Poppins property for the past ten years.

While Travers flies over to LA to be courted by Mr. Disney himself, the earnest, creative folks at Disney are pouring themselves into turning Poppins into a product, equipped with sing-a-long numbers and dancing animated penguins. It’s a far cry from her original vision, and she battles tooth and nail to preserve the soul of these stories that mean so much to her but in the process only comes across as a mean old kook. I mean, this is the 60s, women have no place asserting themselves, amiright?

As audience members, we’re expected to cheer for this moustachioed monopoly man trying to ink out another deal with his enterprising smile. And after Saving Mr. Banks dresses Disney’s acquisition of Mary Poppins up as a promise to his children to one day turn their favorite storybook into a delightful family video, how can you not want him to succeed? Think of the children!

I don’t think I have to tell you whether or not Disney got his grubby hands on the rights to Poppins. So with that, the moral of this Disney story reads something like: big business always triumphs over the solitary artist. How sweet.

For all the tomfoolery that tries to pass as morals here, Thompson is undeniably powerhousing it as Travers. She’s confounding, frustrating, pitiable, and, for a majority of her screen time, detestable. Her 50 shades of gray comes in two flavors: frowny and disappointment. With a no-nonsense attitude so caustic she makes Professor McGonagall look like a bonafide class clown, Travers is the stuff of fairytale stepmothers – strict, rude, and utterly indifferent. But Thompson plays her with understanding, lacking an ounce of judgement. This year’s Best Actress talks have been all about Cate Blanchett but, with a performance of this caliber, Thompson might just have what it takes to knock her off her horse. There is one big thing standing in the way of that though: Travers is entirely unlikeable.

Typically, it requires a bit of mental gymnastics on behalf of the audience to acclimate to a character who is so legitimately awful and yet director John Lee Hancock makes no attempt to skirt around the dozen or so sticks up her butt. In fact, that seems the primary function of the first act – to reveal just how uptight Ms. Travers is. For most of the movie, she might as well be a plum. Says Hancock’s film, she’s a dried up old cooze more pleased by naysaying than any of this smiling nonsense. She wants for nothing save a paycheck so she may return to her flat in London and live out the rest of her days on trumpets, tea, and sighing. As she closes in on signing over that character which has come to define her and her career, she’s hardly a popular figure on the Disney campus. Making friends along the way is about as high a priority as stepping in a pile of dog shit. To her, they may as well be one in the same. With all her humbuging, she’s the Ms. Scrooge of the 2013 Christmas season.

But there’s no illusion that this pinecone of a woman won’t shed her crusty shell and reveal the little sweet girl inside, that flax-haired Aussie who we become well acquainted to through an unexpectedly prominent series of flashbacks. In his milking of the emotional teat, Hancock knows that you’ve got to show just how sour someone is to make their inescapable third act transformation all the more power. Most will likely fall victim to his ringing of the waterworks bell, but they’ll probably also be smart enough to see through the highly visibly emotional manipulation at work. So though you may cry, you’ll likely feel a sucker for it.

On the sidelines, the film is stuffed full of cheery secondary characters who either have helped raise Travers into the woman she is or those unlucky dogs who have to deal with her now that she’s grown into a froofy-haired, red lipstick-wearing bulldog. B.J. Novak, Jason Schwartzman, and Bradley Whitford are a fine trio of slick-job comic relief and their many colored reactions to Travers’ totalitarian workmanship are amongst the best moments of the film.

In stark contrast, Paul Giamatti‘s thick take on a white version of Driving Mrs. Daisy‘s Hoke Colburn is a prime example of Saving Mr. Banks as a hokey tearjerker while Colin Farrell‘s bubbling but bumbling alcoholic father is shaded with true characterization. He’s far richer in depth than many of these hackneyed stereotypes but belongs in a whole other movie; one far darker and sadder. Then again, the wealth the flashback scenes do seem like another movie entirely. It’s not until the end that it all finally comes together and we see the pieces for a whole. Nonetheless, Hancock never really justifies the amount of division the film must carry and the emotionally stirring conclusion still isn’t enough to make up for the sluggingness that clouds the first hour.

Saving Mr. Banks is yet another Disney export of saccharine in the highest degree, an uplifting tale that also serves to reinforce the likeability of a dynasty that has swept up Pixar, Marvel, Stars Wars, and just recently Indiana Jones. But for those of us who’ve heard stories of Disney as a man who aligned himself with anti-Semitic organizations and would work his employees to the bone, attempts to make him seem like Saint Walt come across as disingenuous at best and full-blown falsification at worst. But it’s hard to look down your nose when Tom Hanks is playing the role with all his usual charm and gumption. Well played Disney, well played.

C+

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Out in Theaters: THE HOBBIT: THE DESOLATION OF SMAUG

December 10, 2013 by Matt Oakes Posted in Out in Theaters Tagged Benedict Cumberbatch, Evangeline Lilly, Ian McKellan, Lee Pace, Martin Freeman, Orlando Bloom, Out in Theaters, Reviews, The Hobbit, The Hobbit: The Desolation of Smaug

“The Hobbit: The Desolation of Smaug”
Directed by Peter Jackson
Starring Martin Freeman, Ian McKellan, Richard Armitage, Orlando Bloom, Evangeline Lilly, Luke Evans, Benedict Cumberbatch, Stephen Fry, Aidan Turner, Stephen Hunter
Adventure, Drama, Fantasy
161 Mins
PG-13

Only those fond of cliffhanger endings and tease as tale will truly appreciate the second lackluster installment in Peter Jackson‘s The Hobbit trilogy. Certainly there are things to love; Bilbo’s character progression and his untimely addiction to one precious ring is welcome (although not nearly as prominent as it ought to be), the set design and telescopic vistas are almost as epic as ever, seeing the majesty of gold-diggin’ dragon Smaug realized in impressive CG tantalizes the little boy in me (the one who listened to The Hobbit audiobook until it wore out), and one particularly fun scene involving dwarves in a barrel is a blatant film highlight; but other elements that ought to stand out fall flat on their face and never recover.

For instance, one would expect the return of Legolas (Orlando Bloom) to kick in some much needed nostalgia for the series but he, worse so than Ian McKellen‘s performance of Gandalf, seemingly lacks interest in the role and his apathy shines a bright hole where there ought to be life. Lacking the breezy comic relief he brought to LOTR, this new (old?) Legolas is instead a cantankerous daddy’s boy to dwarfophobe elf-king father, Thranduil (Lee Pace). That relationship and his kittenish flirtation with elf Ms. Forest Elf herself, Tauriel (Evangeline Lilly), reveals a bratty blonde-haired, weird-eyed elf whose presence is entirely unnecessarily. But such is the nature of these prequels. He does come loaded with all the dynamic bowman bells and whistles that make for great action beats but he’s not the Legolas we know and love. As has become my general response to these films: why bring him up at all then?

But The Hobbit: The Desolation of Smaug‘s greatest crime lies in the continuation of the first installment’s trend of doing too little, too late. For a film that stretches over two and a half hours, there is probably only an hour worth of necessary story development. Everything else is superlative nonsense stuffed in purely to milk the material into three films. Worse yet, it plays like an episode of Lost where the most important cue you get from the film is: MAKE SURE YOU SEE THE NEXT ONE! And while it’s nowhere in the same league of disappointment as the Star Wars prequels, this Hobbit trilogy is so far a major bummer.

Let’s try and recount the events of Desolation of Smaug just to give you a better idea of what’s in store. First, Biblo (Martin Freeman, who seems to be the only one really trying), Gandalf, and the company of dwarves continue to flee the armless, severely face-raked white orc Azog (Manu Bennett) and his small legion of trackers. They seek refuge at the home of a surly skin-changer Boern (Mikael Persbrandt) who (unless he comes back into play in the third installment) adds absolutely nothing to the narrative. From there it’s through a inky, stinky dark forest whose dandelions have the power to make everyone trip out (a sequence which provides some satisfying laughs) and after battling a troop of lispy giant spiders, they, once again, find themselves the captives of a battalion of grumpy, wood elves.

On and on it goes, all the while you’re sitting there wondering if the whole Smaug thing (as in the name of the movie) is going to emerge. Unfortunately for those of us who’ve been anticipating Smaug to prominently feature in the film (you know because IT’S NAMED AFTER HIM), expect disappointment as his first appearance is somewhere around the two-hour mark.

The problem is, once we finally get around to all this Smaug business, we’re so worn out from all the boorishness that came before that it’s hard to muster up the excitement that ought to come from seeing this epic, gold-hoarding, talking dragon come to life. Admittedly scenes with Smaug are visually stunning and Benedict Cumberbatch is nearly perfect as the megalomaniacal, near-diva dragon but, as mentioned, it’s too little, too late.

As for all of this talk of returning to form, Jackson is still miles from the magic that made the Lord of the Rings such a rousing and resounding adventure. Missing is the enthusiasm, edge of your seat action beats, and general sense of wonder. Don’t get me wrong, action sequences here are amazingly choreographed and I can’t imagine how intricate the process of getting some of the stuff they did on screen – all the way from storyboarding to post-production – but it’s clear that Jackson’s put too much time into these action beats and not nearly enough into the hobbit, dwarves, wizards, and elves in them. What he falls to understand is that it was never the CGI that made the LOTR world magical, it was the characters and their relationships.

Here, I don’t feel like I know anyone other than Bilbo, Gandalf (the Gray, I might add), and to a lesser extent, Thorin Oakenshield (Richard Armitage). As far as potential dwarf king Oakenshield is concerned, I can’t quite tell where our allegiance is supposed to lie with him. Biblo has finally won over his approval after the events of An Unexpected Journey but Thorin’s still a tyrant of a leader. He’s willing to leave behind wounded soldiers. He shakes down Bilbo for his treasure. And he’s just obviously much more concerned with securing his precious Arkenstone than he is with the safety of anyone around him. I mean the guy blatantly disregards advice from Gandalf. I think we all know, that’s never a wise move.

The rest of the dwarves all have their little bits but none are given quite enough to become a rounded character. I guess it doesn’t matter since all of them have silly names that rhyme with each other anyways and are sure to pass from one ear to the other for those who are not Tolkeinheads but it would be nice if we actually cared about some of them instead of just seeing them relegated to various stereotypical caricatures.

As this endless story rolls on, other characters pop up to pack the story as tightly as possible with characters we could care less about. Bard the Bowman (Luke Evans), who looks exactly like an amalgamate of Bloom and Viggo Mortensen, gets significantly more play than he did in Tolkein’s story and his Da’ chirping kiddies are just more fodder for the nonsense character pile. In fact, all of the Laketown characters seem like derivations of characters we’ve seen before in Rohan. Stephen Fry‘s Master is little more than a greedier, more sentient version of pre-Gandalf-exorcism Théoden. He’s even equipped with his own Wormtongue in Alfrid (Ryan Gage). So many extraneous characters, so little to do. Loopy brown wizard Radaghast (Sylvester McCoy) even returns to do absolutely nothing.

As far as where this film lies in the pantheon of films, it’s a shame that they’re forever be linked with the greatness of LOTR. And while many seem to think the Lord of the Rings films are nerdy, they are wrong. Well, maybe that’s a little far but let me run with this. This series, on the other hand, is definitively nerdy. There’s so many Tolkien tidbits unnecessarily stuffed in that only the most hardcore of Tolkien fanatics will remember more than fifty percent of this tale from the book. Jackson stretches paragraphs into pages, minor characters into twenty minute asides, and focuses the chief propulsion on a villain who we all know won’t be realized until after this prequel trilogy has concluded (you know of who I speak). ‘The Hobbit’ was 300 pages long and is being turned into nearly nine hours of film. The entirety of ‘The Lord of the Rings’ was 1500 in small print and was the same length. So essentially Jackson turns each page of The Hobbit into two minutes. No wonder the story lags so much.

Most egregious, he goes so far as to include material in this film negate the logic of The Fellowship of the Ring and Gandalf’s general story arc. Unless he gets clunked in the head in the next installment and forgets everything he learned in this film, his ignorance to the importance of the ring and Sauron’s presence is entirely unforgivable. What a travesty!

Apparently, we all have to swallow the pill though and get in line for the next bit, the finale that promises to actually deliver on, you know, being good. Jackson is dangling the carrot and we have little choice but to wait and see if the third one manages to muster up a film that can stand on its own. As is, I’m waiting until all the films are done so someone can craft a three-hour supercut of the whole trilogy. When that hits the shelves (or the internet) then I might be interested in revisiting this ought-to-be epic. It’ll clearly be way more worthwhile than any extended editions. I guess at least this time, instead of walking, they’re mostly running.

C-

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GODZILLA Returns to the Big Screen In Style, Watch the Provocative First Trailer

December 10, 2013 by Matt Oakes Posted in Trailers Tagged Bryan Cranston, Comic Con, Elizabeth Olsen, Godzilla, Juliette Binoche, Ken Watanbe, Monster Movies, Trailers

Ever since last year’s Comic Con, fanboys have been going nutso for the upcoming Godzilla reboot. And while many, myself included, didn’t understand where all this enthusiasm was coming from, looking back at the history of the monster icon reveals why he’s had such a massive cultural impact throughout the world.

Originally made in Japan, 1954, Godzilla was a dressed up metaphor for nuclear warfare, achieved by a mostly immobile man dressed up like a monster in a big green latex suit. Since the 50s, Godzilla has been on a continuous silly streak, battling other big baddies like Mothra (literally just a big moth) and King Kong and has since had a run, backed by Japanese production studio Toho, that sees minor Godzilla movies ever couple years. At this point, there are 30 official Toho Godzilla films.

Roland Emmerich re-imagined Godzilla for American audiences, in his 1998 film that takes the name of the monster, as a big preggo lizard to not so glowing results. Gareth Edwards looks to right that wrong with a much more classic take on the Godzilla design.

With a cast that includes Bryan Cranston, Elizabeth Olsen, Aaron Taylor-Johnson, Juliette Binoche and Ken Watanabe, Edwards seems to be on the right track and this first trailer does exactly what a trailer should (but nowadays hardly ever does) – it teases. Instead of giving away the events of the first, second, and third act, it drops us into the situation and let’s us see the horror, confusion, and madness for ourselves. Surely, this doesn’t mean that Godzilla will be a guaranteed layup but it looks far better than I would have first thought.

Take a look at the trailer and see if, at this point, you’d be onboard to check it out in theaters.

Godzilla is directed by Gareth Edwards and stars Bryan Cranston, Elizabeth Olsen, Aaron Taylor-Johnson, Juliette Binoche and Ken Watanabe. It hits theaters May 16, 2014.

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