Monthly Archives: July 2013

Blue Jasmine

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blue jasmine

Director: Woody Allen

Writer: Woody Allen

Starring:  Cate Blanchett, Alec Baldwin, Sally Hawkins, Andrew Dice Clay, Bobby Cannavale

Tomatometer: 85/80/79 (all critics, top critics, audience)

Spoiler-free Summary: Jasmine has lost everything – her homes, her jewels, and her Ponzi scheming husband.  Desperate for some stability, she moves in with her formerly estranged sister.

Two Cents: I don’t think I could name a director, nor a writer, with a more distinct style than Woody Allen’s.  If I showed you E.T. for the first time, would you be able to name Steven Spielberg as its director, without hesitation?  I’d counter with Saving Private Ryan, and you’d have to rethink your position.  Would you bet your life on the assumption that Martin Scorcese directed The Departed?  Not if Hugo were the only other Scorcese movie you’d seen.

Even when he’s not acting in his movies, Woody is still very much the star.  Each line of dialogue drips with Allen’s trademark wit and sarcasm.  I am not, by any stretch, a Woody fanatic, but I’ve seen enough of his films to know what a Woody Allen film is.  And, Blue Jasmine is undoubtedly a Woody Allen film.

As one of my friends put it, Woody Allen is played by Cate Blanchett.  Her Jasmine is the broken and scorned widow of a financial schemer.  Plainly, Jasmine is Allen’s version of Ruth Madoff.  Her husband, Hal, a WASPy version of Bernie, is played by the brilliant Alec Baldwin.

Blanchett, like Woody often does, moves effortlessly between cynicism, self-loathing, and preachiness.  Though Jasmine’s own life is a complete mess, she always knows best how to fix the lives of those around her.  She is the paradigm of what everyone thinks would happen to a billionaire who loses everything.  She’s completely lost her bearings, she has no plan of action, and she’s been shunned by her “friends”.  However, because she once had a house in the Hamptons, she believes she’s still more intelligent and righteous than everyone with whom she interacts.  In a way, Blue Jasmine is a revenge fantasy for anyone who’s ever secretly (or not so secretly) craved the downfall of a person of means.  Let’s be honest.  How badly do you want to see an episode of Keeping Up with the Kardashians after Kris loses all her money?  Sure, it sounds cruel, but that would get a better rating than the Super Bowl.  

As he always does, Allen put together a stellar cast for this film.  Each performance is commendable, but Blanchett’s stands out.  Sally Hawkins was good enough that, from now on, I’ll actually care if Sally Hawkins is in a movie.  Andrew Dice Clay was surprisingly convincing as the representative for The Working Man, and I only wish he had more screen time.  Bobby Cannavale did a nice job as Hawkins’s boyfriend, but I don’t think I’ll ever be impressed with Cannavale again, after his phenomenal performance on the 2012 season of Boardwalk Empire.  Louis C.K. was fine in a small cameo, but that’s really all it was.

Should I/Shouldn’t I: You’d think that, after 49 films, all with a very similar and distinct voice, we’d be over Woody Allen.  Apparently, we’re not.  This past Sunday morning, I arrived early to the theater, which is a rare occurrence.  To my surprise, there was a line around the corner.  I’ve never seen such a long line for a movie that was not about a superhuman.  Granted, the average age of the line’s inhabitants was north of 70, but that only proves Allen’s staying power even more.  These people have already seen the other 48!  No, Blue Jasmine is not a great movie, but it’s a good movie that will certainly satisfy Woody’s fans.  Blanchett is the story, but since she really is just playing Woody, she only gets partial credit for her performance.  If you like Woody Allen, in general, you’ll enjoy this one.  If you’re unfamiliar with his work, this film will serve as a fine introduction to his portfolio.

Sundae Rating: Two scoops

Fruitvale Station

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fruitvale

Director: Ryan Coogler

Writer: Ryan Coogler

Starring:  Michael B. Jordan, Melonie Diaz, Octavio Spencer

Tomatometer: 92/90/87 (all critics, top critics, audience)

Spoiler-free Summary: Oscar is a 22-year-old African American man living in Oakland.  He’s got a girlfriend, a daughter, and a criminal record.  Oscar lost his job, so he’s back to selling drugs, but he’s doing his best to become a better husband, father, and man.  He’s really just some guy.  Unfortunately, for a black man, that’s a problem.

Two Cents: There are good movies, there are bad movies, and there are important movies.  Important movies are the ones that tell stories that are difficult to tell, stories that don’t lend themselves to entertainment, stories to which most people would rather turn a blind eye.  Making an important movie takes guts, determination, and investors with no expectation of a return.  It takes a whole lot more than that to make an important movie a really good one, too.  

Fruitvale Station is the true story of Oscar Juliuss Grant, III, a young black man who was the victim of police brutality.  Thanks to social media, his story became a national headline.  This is not a horror film, yet it is most definitely horrifying.  Ryan Coogler (27), in his first feature-length film, does a masterful job of representing Grant as a real and regular person.  By depicting Oscar in many mundane and unspectacular situations, Coogler forces the viewer to root for Oscar, not because he’s special, but because he’s (in many ways) the everyman.  He’s remarkably unremarkable.

Of course, there will be questions about whether Grant really was the person he’s made out to be in this film, and that’s understandable.  I don’t know the answer, and I don’t think it matters.  Police brutality and intolerance are important issues, and this is just one situation that involved both.  It wasn’t the first, nor was it the last.  It probably wasn’t even the first or last on that day, within a two-block radius.

I’m not a political commentator, and this isn’t a political blog.  Still, whether you fall on one side of the discussion or the other, this is a movie that needs to be seen.  Kudos to Coogler and his collaborators for bringing it to life.

Although Grant is the real story here, I can’t understate the power of Michael B. Jordan’s performance.  This young actor is making all the right moves.  He has yet to be less than awesome in any role.  Octavia Spencer is a true pro, and Melonie Diaz continues to build a terrific résumé as a talented character actress.  This film has already won awards at Sundance and Cannes, and I expect it to wrap up a few more before the post-2013 awards season comes to a close.

Should I/Shouldn’t I: Go to a theater, wait for the DVD, or order it on demand – it makes no difference.  Just make sure you see Fruitvale Station.  

Sundae Rating: Two scoops with whipped cream and hot fudge

The Way, Way Back

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way way back

Director: Nat Faxon, Jim Rash

Writer: Nat Faxon, Jim Rash

Starring:  Liam James, Steve Carell, Toni Collette, Sam Rockwell

Tomatometer: 85/91/92 (all critics, top critics, audience)

Spoiler-free Summary: Duncan’s mom is dating an a-hole named (what else?) Trent.  Imprisoned at Trent’s beach house for the summer, Duncan attempts to make the most of his predicament by taking a job at a local water park.

Two Cents: Malone and Stockton.  Simon and Garfunkel.  Abbott and Costello.  Dean and Jerry.

It has been said that, behind every great man, there is a great woman.  No disrespect to the superior gender, but I have to disagree, somewhat.  Often, the individual behind one great man is an equally great second man.

Throughout the history of American entertainment, good men have been teaming up to create legendary duos.  The duos mentioned above prove this in spades.  For some reason, however, this phenomenon has been largely absent from American film direction.  Sure, there are a few well-known pairs who have made ripples here and there, but the only truly famous examples that come to mind are three pairs of brothers – the Wachowskis, the Farrellys, and the gold standard, the Coens.  (The Duplass brothers are doing some terrific work, as well, but no one really knows them by name.)

Why aren’t there any big-name directing duos in Hollywood who don’t share one surname?  Allow me to venture a guess.  Hollywood is an industry driven by two things, above all others – money and ego.  (And, the money is really only a barometer for egos to measure themselves against other egos.)  Naturally, humans have a hard time sharing success.  We aren’t programmed to admit how much other people’s efforts and intelligence have influenced our achievements.  We’re always trying to differentiate our work from that of others, while still taking some credit for their work, too.  With an artform such as film direction, however, differentiating one person’s work from that of another, is extremely difficult. (We don’t know which Farrelly decided which sound was the most annoying in the world, and we can’t begin to guess which Wachowski decided to put Neo in a leather trenchcoat.  You could ask them, but could you count on their honesty?)

In an industry where ego is king, each director wants to prove he can do great work on his own.  The quest for individual achievement tears countless successful partnership apart.  When is it easier to enjoy the success of a partner nearly as much as your own?  When is it more difficult to leave a partner in the dust, in hopes of hanging up your own shingle?  When that partner is your brother.

Perhaps, I’m correct.  Perhaps, I’m way off.  Either way, I believe the value of a great duo is often far greater than the sum of its parts.  For that reason, I pray that Nat Faxon and Jim Rash will continue to create introspective, heartfelt, and hilarious movies TOGETHER.  When they accepted their joint Oscar (from Angelina’s right leg) for co-writing The Descendants with director Alexander Payne, I couldn’t believe that Rolf (second from left) and Dean Pelton were responsible for one of the best-written screenplays in years.  I couldn’t help but wonder whether they had another masterpiece left in them.  After all, The Descendants was quite different from the work each had done in the past.  Alas, my dreams have come true!

As co-writers, co-directors, and co-producers, Faxon and Rash have soared to even greater heights with The Way, Way Back.  They wrote an outstanding script with realistic and punch-in-the-gut poignant dialogue, assembled a stellar cast of understated stars possessing immense talent, and directed the crap out of it all.  

Steve Carell is fantastic as douchebag Trent, and his condescending tone is one of the highlights of the movie.  You’ll wonder how you ever liked Steve Carell, in the first place.  And, that’s exactly what he was going for.  Toni Collette plays an incredibly real divorced woman caught between her child’s happiness and her own.  Sam Rockwell shines as the damaged, yet optimistic, antihero to a young boy in need of one.  The supporting cast, which includes Allison Janney, Rob Corddry, Amand Peet, AnnaSophia Robb, River Alexander, Maya Rudolph, Faxon, Rash, and others, is top-notch.  Although many of the roles are small, each plays a significant part and is played with tremendous skill, yet another tribute to the co-directors’ talent.

Liam James is so good, I’m shocked he doesn’t have any new projects lined up (according to IMDB).  His timidness and awkwardness are so authentic, you’ll be mad at yourself for laughing at his expense and not rushing to his aid.  I expect he’ll be popping up quite a bit over the next few years.  Think of him as Topher Grace mixed with Emile Hirsch, but only 17 years old.

If former Groundlings Faxon and Rash manage to stay together for the long haul, we are all in for a treat.  The ability to create microcosmic stories with powerful lessons and a healthy dose of humor is extremely rare, but this duo proves that such stories can, at once, be inspiring and entertaining.  At this moment, I’d be hard-pressed to think of a writing or directing team I love more.  Let’s raise a glass.  Here’s to many more happy years together!

Should I/Shouldn’t I: No matter what you’re doing today, tomorrow, or the next day, or this weekend, I promise none of it is more important than rushing to a theater for the next showing of The Way, Way Back.  Faxon and Rash are superstars-in-the-making, and a front row seat will cost you less than popcorn and a soda.  If you’ve recently proclaimed that there are never any great movies, you’re about to eat your hat.

Sundae Rating: Two scoops with whipped cream and hot fudge

The Lone Ranger

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lone ranger

Director: Gore Verbinski

Writer: Justin Haythe, Ted Elliott, Terry Rossio

Based On: Radio show (The Lone Ranger) written by Fran Striker

Starring: Johnny Depp, Armie Hammer, Tom Wilkinson, William Fichtner

Tomatometer: 25/11/68 (all critics, top critics, audience)

Spoiler-free Summary: John Reid joins his brother, Dan, and a group of Texas Rangers on a manhunt for outlaw Butch Cavendish.  After Cavendish’s gang kills the group of Rangers, John, the lone survivor, teams up with a wise (possibly insane) Native American and becomes a vigilante.

Two Cents: Remember when Michael Jordan played for the Washington Wizards?  How about when Madonna performed at halftime of Super Bowl XLVI?  Few things are more uncomfortable than watching a former legend attempt to relive the glory days, only to fail miserably.  Okay, Jordan was still pretty good with the Wizards, but you get the point.

Gore Verbinski, Ted Elliott, Terry Rossio, and Johnny Depp once joined forces to create one of my favorite films of all time – Pirates of the Caribbean: The Curse of the Black Pearl.  Not only was the first Pirates movie intelligent, funny, action-packed, and original, it was completely unexpected.  Verbeinski hadn’t yet directed a mega-budget blockbuster, Elliott and Rossio had mostly worked on animated features, and Depp hadn’t played such a unique and transformation-necessitating character since Edward Scissorhands, 13 years earlier.  No one knew what to expect from the movie, and no one could have predicted that a Bruckheimer/Disney production would lead to an Oscar nomination for a vulgar, yet lovable, pirate.  After three more Pirates movies, however, the world knows what to expect from this quartet (sextet, if you count Bruckheimer and Disney as part of the team, as you should).

When this band gets together, we know there’s going to be inventive action, a healthy dose of Deppian weirdness, and a couple of long hours in between.  I love the Pirates movies, and I even love the Oscar-nominated Rango, another Verbinski/Depp project that was surprisingly fantastic.  Still, even I have to admit that the character development, plot twists, and witty dialogue that made those movies so entertaining have been on a steady decline since 2003.

Sadly, The Lone Ranger is the most glaring proof, to date, that this team of former all-stars is grasping at straws.  There’s some of inventive action involving horses and trains, but it works only as bookends to an otherwise dull story.  Depp’s Tonto is more awkward than funny, the dialogue is atrocious, and the other characters are barely one-dimensional.  The crime of wasting Tom Wilkinson, Barry Pepper, and Depp on such worthless roles should be punishable by 5-10 years of watching this movie play on a loop.  The one bright(ish) spot was a dark and creepy performance by William Fichtner, which only seems more impressive when considering the overwhelming ineptitude surrounding him.

Armie Hammer.  Armie freaking Hammer.

Hey, Johnny, it’s Jerry.  Good news.  We picked a Lone Ranger.  And, we only had to go to the 46th name on the list.

Is this a joke?  I admit I’m not very familiar with the Lone Ranger radio show or television program, but there’s no way George Seaton, Earle Graser, Brace Beemer, and Clayton Moore were this vapid.  If Verbinski had asked Depp to hold a broomstick with a mask stapled to it, it would have put Hammer to shame.  Note to casting directors: When searching for a talented actor who can do a legendary role justice, carry a two-hour, franchise-launching blockbuster, and successfully share a screen with Johnny Depp, your best bet is to steer clear of someone who got his start on Gossip Girl.  Do you remember who starred opposite Depp in the Pirates movies?  That’s right, Geoffrey Rush, a man who is one Grammy away from becoming the world’s twelfth EGOT winner.  There’s got to be someone somewhere in the middle.

I am a huge fan of most of the key players here, and that’s precisely why this flop hurts so much.  We can only hope the dubious (and Verbinskiless) Pirates of the Caribbean 5 (and 6) will turn this sinking ship around.

Should I/Shouldn’t I: The plot is flat, the twists are predictable, the acting is weak, the dialogue is laughable, and the action is sporadic.  If that sounds like a winning combination to you, be my guest.

Sundae Rating: Empty cup

The Heat

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the heat

Director: Paul Feig

Writer: Katie Dippold

Starring:  Melissa McCarthy, Sandra Bullock

Tomatometer: 62/69/78 (all critics, top critics, audience)

Spoiler-free Summary: Sandra Bullock is a superb FBI agent, and she knows it.  Melissa McCarthy is the ultimate rule-breaking cop, and she knows the streets of Boston better than anyone else does.  Forced to work together to track down a druglord, these two know-it-alls become locked in an epic battle of one-upmanship.

Two Cents: Just as an actor can often fall into a specific niche role, never to find a way out, so, too, a director can become the go-to guy/gal for a specific genre.  For example, Christopher Nolan did wonders for Batman, so DC Comics made sure to get him heavily involved in a Superman reboot.  Do you have a weak script that’s going to need a transfusion of explosions and humor, in order to survive?  Michael Bay is your man.

After the incredible success of last year’s Bridesmaids, people finally believe that chicks are sort of funny.  However, only Paul Feig seems to have Hollywood’s blessing, when it comes to betting actual dollars on that belief (something that will probably only happen once or twice a year for the foreseeable future).  Paul Feig is 50 years old, but Bridesmaids was his first silver screen hit.  Still, he found a formula that works, and that’s exactly why he’ll be directing female comedies like The Heat for years to come.

The Heat is nothing new, but it’s certainly entertaining.  There are even a few laugh-out-loud moments, which has been rare the last few years.  Lucky for Feig, he had the privilege of working with Bridesmaids‘s breakout star, Melissa McCarthy, once again.  McCarthy owns this movie the way Eddie Murphy owned the Beverly Hills Cop movies.  Even with a star like Bullock beside her, and a bounty of well-known and talented comedic and character actors filling out the smaller roles (and some decent cameos), McCarthy demands attention in every frame.  She’s obnoxious, lovable, grotesque, and hilarious.  Bullock is very good, as well, but she knows it’s not really her show.

The real issue is whether McCarthy’s act (which isn’t far off from the characters she played in Bridesmaids and Identity Thief) will get old after another movie or two.  It happened to Zach Galifianakis, it happened to Jim Carrey, and the list goes on.  Feig and McCarthy are both riding high, right now, but one can’t help but wonder whether they should quit while they’re ahead.  Surely, each of them is talented enough to try something else and achieve incredible success.  Right?  Well, I guess time will tell.  (It’s worth noting that McCarthy’s tame sitcom, Mike & Molly, was 2012-2013’s 37th-highest rated show.  Not great, but surprisingly respectable.)  But, one thing’s for sure; we should all enjoy it while it lasts.

Should I/Shouldn’t I: Melissa McCarthy is a rare breed – an actress who is actually getting lead roles!  Not only that, but studios are even writing lead roles with McCarthy, specifically, in mind.  That just doesn’t happen, these days.  She is a star, and she deserves her success.  That’s even more rare.  Eventually, she’ll be replaced in the Hollywood hierarchy by another comedic actress, so, make sure you catch her while you can.    

Sundae Rating: Two scoops