“August: Osage County”
Directed by John Wells
Starring Meryl Streep, Julia Roberts, Ewan McGregor, Chris Cooper, Abigail Breslin, Benedict Cumberbatch, Juliette Lewis, Margo Martindale, Sam Shepard
Comedy, Drama
121 Mins

If you had told me going into August: Osage County that I was in store for two of the finest performances of the year I probably would have scoffed. But after having gone through the dirty laundry with the Weston family, I can assure you that it certainly does. The ever-dependable Meryl Streep is on top of her game here and, surprisingly enough, Julia Roberts does more than just hold her own against the queen of Hollywood. In fact, she’s nearly just as great.

As acidic matriarch Violet (ironically one letter away from violent) Weston, Streep puts in the kind of work that put her on the map. Although she’s as despicable as the worst of the year, there’s just as much going on behind Violet’s pill-faded facade that she doesn’t reveal. Too bad her automated knee-jerk reaction is to lash out at her family because, with a performance like Streep’s, you can see the suffering in this cantankerous crustacean. She just can’t help but fight.

At times reminiscent of Ellen Burstyn‘s monumental performance in Requiem for a Dream, seeing Streep’s crumbling mental barricades is no fun task but it is still no less a marvel. Playing opposite her, Roberts is a wonder as well. It’s been a long time since Roberts has had anything legitimate to offer so it’s a welcome change that she taps us on the collective shoulder, reminding us that she can indeed act with the best of them.

Filling out the terrific supporting cast is a perpetually clueless and never amiss Juliette Lewis, a self-righteous and awkwardly tweened-out Abigail Breslin, a powerful beyond the pages performance via Chris Cooper, Margo Martindale doing Margo Martindale, Ewan McGregor in a complicated but not completely fulfilling role, the always delightful Sam Shepard in a small but important role, and a bumbling, insecure and totally unexpected Benedict Cumberbatch as none other than the aptly named Little Charles. Calling it a stacked cast is an understatement, especially with so much prominence placed on the performances. These people aren’t here to sell you on name recognition. They’re here to act.

The events that gets the whole gang together begin when Violet’s husband (Shepard), and father to the three girls (Roberts, Lewis, and Julianne Nicholson) suddenly disappears. He’s a drinker, she’s a pill popper and their relationship is hovering somewhere in the red zone of the domestic-abuse-o-meter. So no one is surprised that he’s up and left without so much as a note. But as the events of his disappearance start to become clear, rather than coming together as a family as one might in the midst of loss, the emotional explosions just get more volatile.

Each time the family gets together, it’s like setting a ticking time bomb and waiting to watch it explode. Whenever they sit down at dinner, each comment is a turn in hot potato as we wait to see which of the family will explode in an emotional meltdown first. Their sanctimonious battles are at once hysterical and revolting, making you thankful that you’re not a part of the Weston clan but also reminding you of your own family battlegrounds.

Much like real life, throughout the film, the closer we are to the dinner table, the more tension seeps in. Accordingly, the more people at the table, the more riveting and on edge the film is. Without a place to run, you stew like a sack of potatoes, until blam! You never quite know who or what is going to pop out when they’re stacked around that unchivalrous table of food. Word for the wise: around the Weston household, tread lightly. But as we fade away from that central table – that catalyst of action – things do tend to get a little flabby.

But aside from a few minor complaints revolving around a splattering of moments of unnecessary melodrama, August: Osage County is a surprisingly good film that I can find little to criticize. However, if you’re the sensitive type who like things wrapped up in a neat package or are uncomfortable with watching a family bicker for two hours and not really resolve anything, this probably isn’t the film for you. So I guess this really isn’t a film for most people.

Although the icky subject matter will be enough to turn general audiences away, those looking for a bonafide acting showcase need look no further than this Southern familial upset. Although director John Wells has done a great job of adapting the energy of Tracy Letts‘ source material, it still feels very much like a theater performance. Between the explosive and deeply personal acting, tightly confined spaces, and webs of dangling intermittent issues, in August, we feel like we’re in the midst of a really great play.


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Out in Theaters: ENDER'S GAME

“Ender’s Game”
Directed by Gavin Hood
Starring Asa Butterfield, Harrison Ford, Viola Davis, Ben Kingsley, Moises Arias, Hailee Steinfeld, Abigail Breslin
Action, Adventure, Sci-Fi
114 Mins
Ender, a natural born strategist, waxes philosophy like he’s Sun Tzu. Taking “The Art of War” to its next logical step, Ender believes it’s not enough to understand his enemy. For him, truly understanding your enemy comes hand-in-hand with loving them. When you know someone well enough to predict their moves militarily, you glimpse into their soul. All at once, this zen of inter-connectivity gives Ender an upper hand in battle but also puts him in a constantly state of moral dread. He knows he can be a mighty conqueror the likes of Caesar but doesn’t know if he should be.  

Based on the popular young adult novels by Orson Scott Card, Ender’s Game is built on a foundation of tough philosophical questions like these. Tackling ethical issues that date back to the dawn of fighting with sticks and stone and span to our current climate of piloted drone warfare, moral quandaries are given precedence in the film, but often come across as heavy-handed and poorly thought through.

For a movie entirely about tactics, it’s lacking in tactical approach to philosophy as process. Socrates, famous for breaking down prejudices in order to reach universal truths championed the dissection of established beliefs through reasoning alone. To discover truth, he used critical analysis to better understand the world around him and the many false beliefs that dominated society at large. Here, Ender’s Game is philosophy as a means to an end, an “I told you so” of childish rashness rather than a contemplative, almost meditative, study. Rather than a thought process, here philosophy is a bat. Like Bonzo, you’ll want to be sure to cover your head from the beat downs to come.

Philosophical dissection of Ender’s Game aside, the film floats by on the freckled charm of Asa Butterfield (Hugo). Unlike his peers, Ender has a preternatural tact for foreseeing the consequences, good and bad, of his physical actions and a pension for using violence to prevent future violence. Butterfield does a fine job at conveying the dueling nature of Ender’s innocence and incessant scheming. At once aggressive and acutely aware of his dangerous aggression, Ender is a morally complex character – a suiting trait for the morally complex world he inhabits.

On Earth, 50 years have passed since a devastating alien attack almost wiped out the planet’s population. Like a post-9/11 America, tapestries hang in offices and homes alike, wallpapering sentiments of “Never Forget.” At the hands of the bug-like Formics, Earthlings faced their demise but managed a narrow victory in a play of much-celebrated battlefield bravado. One man, we are told, single-handedly chased the enemy off and ever since, Earth has awaited the return of their ruthless enemy, all the while training legions of child soldiers.

Picked as the last hope for humanity, children are utilized for their fast processing skills, unfaltering obedience, and gullible code of honor. Ender is chosen to lead not because of his tendency towards violence but because of his thought process within said violence. Never the one to start a fight but always the one to finish it, he’s not a sadist, but a tactician. For these qualities, Colonel Graff (Harrison Ford) sees Ender as the ideal candidate to lead Earth’s troops into the final battle with the Formic.
Joining Butterfield is a legion of youth actors that act little more than their age. Moises Arias as Bonzo and Hailee Steinfeld as Petra both do caricatures of the seething bully and flirty love interest but Abigail Breslin as Ender’s sister Valentine is really the most reined in of these child performers. Her character is harmony, her performance refined, a nice counterpoint to the violent lifestyle that Ender’s profession has surrounded him by. She and bullying older brother Peter are the fulcrum points around which Ender measures himself. As Colonel Graff says, he needs to fall somewhere between them. He must harness both violence and peace – he must become a cocktail of serenity and rage.

As Ender trains to become a commander, he must undergo physical challenges that hone his motor skills and mental games meant to whet his battlefield acuity. In a turn of revamped Quidditch – except without brooms, magic, or gravity – the “launchies” spent most of their days training in an arena-based game of space dodge-bullet, where they earn points for blasting each other with stunners. Like Quidditch, the game can be won, regardless of points accumulated, if one team member passes through their opponents’ gate unscathed. Unlike Quidditch, this tournament has bearing outside the arena as the victor will go on to lead Earth’s army against the evil bug aliens. Perhaps this convoluted plot point is more an issue with the source material than the movie, but I’ve never heard of a Superbowl winning team captain going on to lead an army.

Why the young launchies must spend so much time pushing their bodies to the limit when all eventual warfare is exclusively done through drone command is never addressed. Nor is the fact that regardless of the grueling training, none of the launchies – all of whom are on one side or the other of the scrawny-to-chubby spectrum – seem to put on any bulk or shed any pounds. They’re all in the same physical shape as day one. Surely this has to do with the fact that the film employs underage performers, and you can’t quite push a 12-year old to shed pounds like Christian Bale, but oversights like this are noticeable throughout and work to diminish the sense of reality director Gavin Hood is working so hard to create.

As the film pushes towards a close, the inevitable last act twist is somewhat foreseeable but nevertheless cements the relative worth of the film. Barking out commands with the crackly voice of a teen in metamorphosis, Ender leads his troops to video-simulated victory after victory until a crushing reality is revealed: maybe it’s not a game after all.

In blurring the lines between video game violence and real world violence, Hood explores the hefty moral consequences of drone warfare, even when he’s being too clunky for his own good. While I admit to not having read the book, the ending comes out of left field, begging for a sequel and an impending franchise. There’s a delicate art to franchise building that used to revolve around worth but nowadays is left at the behest of the filmmaker. It’s as if a “what comes next?” cliffhanger is a necessity for any movie that costs over $100 million dollars. The question is: if you build it, will they come?

While the communist undertones, expressed here as the “hive mentality,” may be outdated now, many of the issues seen in Ender’s Game are even more relevant today than they were when it was written (i.e. drone warfare, bullying, surveillance, video game violence, child soldiers, etc.) However, Hood can’t help himself but to let them fly in your face, like the drilling of drones in the film’s finale, never really developing the ever-important why? behind it all.


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