Quick Take: 'Silver Linings Playbook' (2012)

Silver Linings Playbook focuses on Pat (Bradley Cooper), a man who has recently been released from a mental health facility after having a break down following the discovery of his wife with another man. Cooper in the role could not be better. It is a much different character than what we are used to him playing but due to the life he gives to the character, the audience has no choose but to root for Pat to find that silver lining. Matching the solid performance of Cooper is Jennifer Lawrence as Tiffany, a woman who isn’t completely mentally or emotionally stable after the death of her husband. This character demands quirkiness, charm along with vulnerability and Lawrence not only meets these demands but exceeds them. Silver Linings Playbook isn’t great due to these performances alone but great because complementing the quality of performances is the direction and writing of David O. Russell.  Russell brilliantly matches the high strung characters and situations with the way he blocks each scene and uses a shaky camera to capture them. Yes, Silver Linings Playbook is well crafted to say the least but it is its story that will have you feeling several different emotions which includes a smile long after the credits role.                  
 Grade: A-   

Movie of the Week! (4/28/13 - 5/4/13)

Equilibrium (2002)

In honor of Oblivion being the number one movie in the country, I felt the time was right for tabbing a sci-fi movie as the Movie of the Week. Released in the wake of The Matrix, Equilibrium offers little in the form of innovation as it steals plot lines from several classic sci-fi stories. Regardless of it being a real mash up of stolen ideas, Equilibrium is an enjoyable viewing experience. Christian Bale stars as a priest/assassin who's duty in life is to hunt down people who can feel and kill them. Feeling has been outlawed by the Father and everyone who lives in Libria has to take vails of medicine so that won't feel. Bale's character sets out to overthrow the system and this becomes the major plotline of the movie. There is a gratuitous amount of action and since the majority of characters can't feel, there is a ton of over acting. This is the perfect B-movie to sit down for a couple of hours and have a few good laughs. The story is interesting and there's even a couple of small twists. 

Review: 'Oblivion'

Universal Pictures

‘Ambitious’ seems like an appropriate term when describing what Oblivion is as a film. Oblivion explores two or three genres in its 124 minute running time. It is a film that is clearly a science fiction film. With this comes a sub-genre, as it can be labeled as an actioner. These genres only function as a canvas for what Oblivion is really trying to be: a story of romance.  So the question becomes, does this ambitious approach work in its favor. As a science fiction film, Oblivion does not do anything wrong, even excelling at times. It is when it wants to tell a romantic story in a poetic matter that it runs into real problems. 

Oblivion begins in 2077 on an earth where humans are no longer present do to a war with an alien race known as Scavengers that destroyed the moon sixty years prior. Humans now occupy a space station called the Tet and Saturn’s moon, Titan but in order to survive in these environments they must harvest earth of some of its last remaining resources. Technicians Jack Harper (Tom Cruise) and Victoria Olsen (Andrea Riseborough), under the surveillance of their commander Sally (Melissa Leo), must stay on earth to make sure that everything goes as planned when acquiring these resources before they can join the others. With just a couple of weeks left until the two can leave earth, trouble arises as Scavengers become more of a threat, the droids they are monitoring begin to fail and a space vessel containing humans crashes nearby.     

It is hard not to see Oblivion as a science fiction film as it uses all of the genre’s usual characteristics and plot points. There is the deserted earth, aliens, droids, space colonies and even more. It may seem like an overload but they are pieced together in way that works (nothing flat out amazing but works). On top of these plot devices comes the twist and turns that keep coming. They eventually start to pile on each other in such a way that it feels that they are the factor that is supposed to make the story interesting. Whether it is planned this way or not, this becomes exactly the case as the film moves along.

As a part of Oblivion’s science fiction base are futuristic visuals and action sequences. It was in my Warm Bodies review that I expressed how post-apocalyptic landscapes often look the same from one movie to the next but this is far from the case in Oblivion. Yes, the color blue seemed to occupy almost every scene but the way that it was used as a back drop in several different shades allows it to stay effective. I could stare at the blown up moon all day.

Complementing the gorgeous scenery are the crisp action sequences. Oblivion avoids messy moments of intense action and the film benefits from it. It is always clear what is going on in these scenes and are never over used. Although simple in their use and appearance, the futuristic, flying, round ball-like droids become an entertaining element to these sequences. Due to all this, credit is due to director Joseph Kosinski for choosing not to over load the film with action but rather focus on a more thoughtful story. It’s just a shame that this story cannot deliver.

Oblivion wants to be more than just a science fiction movie. Whether it be Jack Harpers dreams or the ongoing reference to a poem, it quickly becomes clear that is a film that wants to make a statement. Unfortunately, it’s attempt, although heavy in his application, comes of flat and at times, even shoots itself down. Popping up several times in the films first half is Jack continually having dreams about meeting a woman in pre-war New York City. This alone works as it adds an emotional aspect to Jack. It is when he becomes involved with a survivor of the space vesicle wreckage that the story of romance does not fully work. The relationship between Jack and Julia (Olga Kurylenko) never manages to convey the message that the film is aiming for through this couple: love is for humans and plays a major role in being human. The emotional investment that the two have in each other is never felt. This is due largely to a poor character in the form of Julia and lack of emotional moments allowed to play out.

The other part of Oblivion’s message about what it is to be human and who should create humans involves reference after reference to Thomas Babington Macaulay’s Horatius. It is an excellent exert but given what the story becomes, I am not sure that it is the best fit. Even when its reciting is at its best, it is ruin with the line “Fuck you, Sally”. Maybe it just me but if I were trying to make some poetic statement I would not end it by dropping the F-bomb. Not in this situation anyway.                              

It is fair to say that Oblivion is a film that swings for the fences but instead finds itself on second with a double. As a science fiction film, Oblivion works as it is ascetically pleasing film that appropriately pieces together the usual sci-fi plot devices. When Oblivion tries to be more than just twist and turns and actually say something about love and the human race is when it fails to connect.

Grade: C+

Movie of the Week! (4/21/13-4/27/13)

Rango (2011)

While watching last week’s Movie of the Week selection, Once Upon a Time in Mexico, I couldn’t help but be amused while equally impressed by Johnny Depp. Sands is such a fun character and Depp is solid in the role. So while selecting the most recent Movie of the Week, Rango, I went for the Depp repeat as he provides his voice to the titular character. If another helping of Depp does not interest you, allow me to ‘sweeten the deal’ as they say. As this week’s MotW, Rango becomes the first animated film to receive the honor, which gives us a different type of film making to unpack. If that is still not enough, let me inform you that in 2012 Rango won an Academy Award for best animated feature. After all this said though, I have a confession. I have not seen Rango. Marketing for Rango, has always had me intrigued due to its quirky style but I have never got around to giving it a watch but this week that changes. So I think now is a good time to stop going on about all the potential Rango has to be a great Movie of the Week and get to work.  

Review: '42'

Warner Bros.

Every year on April 15 (the date in which Jackie Robinson made his Major League debut in 1947) every single Major League Baseball player wears number 42. Due to Robinson’s breaking of the color barrier, a major step forward for race relations in the United States, the only number that is retired by every single Major League franchise is 42. So it is only appropriate that a film focusing on the origins of Robinson’s impact is titled 42. Even though it may go back and forth at times between cheesy and gritty, 42 never loses focus of the man it is honoring and the continues uphill battle he faced.    

42 begins in 1945 as Jackie Robinson (Chadwick Boseman) is playing for the Negro league’s Kansas City Monarch’s. Both Robinson’s on and off the field strengths are seen early in the film with him stealing bases in a game and fighting against discrimination when he needs to use a restroom at a gas station. This type of character along with the remarkable baseball skills Robinson possess stands out when Brooklyn Dodger’s General Manager Branch Rickey (Harrison Ford) has the idea to sign an African American player. Robinson becomes a part of the Dodger’s organization but must begin his career by playing for their farm team, the Montreal Royals. With his wife Rachel (Nicole Beharie) and sports writer Wendell Smith (Andre Holland) by his side, Robinson quickly makes an impact for the Royals while also facing constant discrimination. With 42 focusing on Robinson all the way to the end of his rookie year with the Dodgers in 1947, discrimination and racism only gets worse as he gets closer to the Major Leagues.   

Working in the films advantage and staying true to real events, 42 presents scene after scene of Robinson facing and eventually overcoming an uphill battle. This acts as a constant reminder of how difficult everyday life was for a black man, let alone the first ever to play Major League Baseball. Through this type of construction, Writer and Director Brian Helgeland never allows the audience to only see baseball. He rightfully overshadows the sport by bringing the crippling impact of discrimination to the fore front. Yes, it rarely goes beyond anyone else being affected other than Robinson but due to the way that each scene is constructed and pieced together, 42 still manages to present the issue on a much wider scale

With these scenes of overcoming obstacles and working towards something greater comes the slight drawback of heavy corny and sentimental moments. 42 is a film that leaves nothing left unsaid. Instead of letting tension develop naturally it is often explained verbally. Like I said though, this is only a slight hiccup in the films effectiveness because there are a few scenes where tension is allowed to build and have an impact. Animosity towards Robinson is made so clear in scenes where Philadelphia Phillies’ manager Ben Chapman (Alan Tudyk) is brutally heckling Robinson or when a young boy is influenced by the hate of his father and other fans at a Dodgers game. The affects that racism can have on everyone involved is not just seen but felt in these moments.

It is these scenes, Robinson experiencing the burden of the role he is in, is where Chadwick Boseman is at his best. Boseman seamlessly switches from confident to shaken throughout the entire film but it is in these moments of terrifying verbal abuse towards Robinson that he handles emotion well. Boseman makes it clear that Robinson is strongly affected by racism by letting fear build in a gradual, subtle matter and releasing full emotional breakdown that comes off as authentic rather than over the top.

Andre Holland as African American sports reporter Wendell Smith, who like Jackie is a part of career that includes plenty of discrimination, also is solid in his projection of the fear that comes with being in such a situation. It would have been interesting to see more of his experience and struggles as he chronicled Robison. Also playing a major role in Robison breaking baseball’s color barrier is Branch Rickey which like Smith’s involvement is only briefly explored. I couldn’t help but think that getting into why Rickey is unlike anybody else in his openness to blacks playing in the major leagues would have been an extra angle of inspiration. With that said though, there is reason that the film is called 42. It’s a film that tells Jackie Robison’s story and if these other characters were given more focus it would be something else.

Robison’s story stands for much than one man becoming the first black Major League Baseball player. It’s a story of risky everything to not only make difference in one’s own life but for mankind. It’s a story of needed change. This is a theme seen over and over again in film but when it takes place in reality it is far more impactful. Of course, 42 can’t match the magnitude of Robinson’s actual impact but it takes an honest and inspirational approach to telling his story. For that it is well worth a watch.  

Grade: B

Review: 'The Incredible Burt Wonderstone'

Warner Bros.

I have only been to a few professional magic shows in in my lifetime but one thing they all had in common was that the messages they presented, while fun, felt somewhat dated  and extremely sappy. So with The Incredible Burt Wonderstone focusing on professional magicians and illusionist, it is only fitting that, as a film, it plays similar to an actual show. The Incredible Burt Wonderstone is nowhere near groundbreaking as it feels dated in respects to comedy but at the same time it offers a satisfying message, making it easy to find a little magic.

The Incredible Burt Wonderstone begins by explaining how Burt Wonderstone (Steve Carell) became interested in performing magic and friends with Anton Marvelton (Steve Buscemi). This opening montage ends in present day with the two performing at their Las Vegas show called The Incredible Burt and Anton: A Magical Friendship. This outdated show is more of a Branson worthy attraction rather than Vegas which is proven by its low attendance. Due to this loss of an audience, Doug Munny (the perfectly casted James Gandolfini), owner of the hotel and casino where Burt and Anton perform, is hesitate to automatically give the duo the honor of performing at his new egotistically named casino and hotel: Doug. Instead he decides to have a competition to find the best act. The front runner is new comer, Steve Gray (Jim Carrey), a David Blaine/Chris Angel like Illusionist. Whether it is sleeping on hot coals or not using the restroom for several days, Steve’s crazy antics have made him the hottest thing on the Vegas strip. Burt and Anton must not only overcome Steve’s popularity but also a rocky friendship and Burt’s pride in order to earn the new venue.

There is nothing incredible about Burt Wonderstone when looking at the character through Steve Carell’s performance. Carell’s delivery and dialect of the arrogant, off stage Wonderstone is so unnatural and inconsistent that it becomes hard not to be annoyed. This is in large part due to the poor casting of this role. Carell is a talented comedic actor but his best work comes when he takes on a ‘fish out of water’ type of character, a character that is not completely sure of himself or what he is doing such as his performances in Dan in Real Life and Crazy, Stupid Love. For the first half of the film, Burt Wonderstone is far from this type of character which negatively affects Carell’s performance. Fortunately though, as Burt changes for the better so does the performance. A lot more credit can be given to Carrell as on stage Burt Wonderstone. Both Carrell and Steve Buschemi successfully capture the scripted, corny messages and actions of a performing magician, making for one of the most entertaining elements that the film has to offer.

Jim Carrey on the other hand, the more crazy and confident the character the better and Steve Gray is exactly that. Steve Gray is a character used for full on comedic purposes. Burt and Anton may be satirical characters but nowhere near the level that Steve Gray is. His antics constantly make light of today’s illusionist which makes for an over the top but entertaining character. Carrey’s physical and verbal approach only adds to an already fun character. It is important to note that unlike what marketing for the film may suggest, Steve Gray is a supporting character at best and by no means a lead character so if you are looking for a movie with Carrey as its star, you will not find it with The Incrediable Burt Wonderstone.

Like Carrey, the rest of the cast also plays small roles that, at times, are completely disposable. Buscemi as Anton Marvolton gives the best performance he can in a role that gives him little to work with. Anton is only a component of the message being given rather than an impactful part of the story. Like Buscemi, Olivia Wilde as Jane, a backstage assistant turned magician’s assistant, is given very little chance to stand out. Jane’s dream of becoming a magician would have been a fresh and heartfelt direction for the story to take but instead it is only briefly mentioned, never going deeper than surface level. Then there is Alan Arkin as legendary Magician Rance Holloway. Holloway is given dialogue from time to time that holds some real weight and meaning but may be the biggest victim when it comes to out of place appearances. How does him having a heart attack have anything to do with the plot?

Fortunately, when the poor transitions from each encounter Burt has with another character are looked past and the supporting cast is properly used, The Incrediable Burt Wonderstone offers something of value. The morals of the story, all though sappy and as old as time, easily bring satisfaction to the table or in this case to the stage. Yes, there is the obvious lesson about the importance of friendship but the more subtle lesson, having passion for what you do, is where the film is at its best.

Due to these heartfelt moments and an entertaining finale, it is difficult not to find joy in The Incredible Burt Wonderstone. Yes, rarely do the jokes pack a punch and it is too often a one man show but even with that said The Incredible Burt Wonderstone still manages to pull off a little magic. You will never be in full amazement as if you just witness someone disappear right before your eyes but you will never feel like you want to be the person disappearing, something rare for a majority of  today’s all out comedies.        

Grade: B-    

Movie of the Week! (4/14/13 - 4/20/13)

Once Upon a Time in Mexico (2003)

Sometimes movies are full of actors we've never heard of and directed by people who wouldn't even register to the biggest of movie buffs. Once Upon a Time in Mexico (OUTM) is not one of these types of films. OUTM is the exact opposite. The third movie in Robert Rodriguez' oft overlooked Mariachi trilogy has more stars than the Milky Way. Banderas, Depp, Hayek, Dafoe, Rourke, Trejo, Mendes, and even a pop star (Enrique Iglesias) come out for this solid action flick. Told in a way that doesn't require viewing either The Mariachi (1992) or Desperado (1995) is some of Rodriquez' best work. With that in mind, come for action, great filmmaking, and amazing cast, stay for the Latin beauties (Hayek and Mendes) because their presence alone makes the film a must see.

Movie of the Week! (4/7/13-4/13/13)

The Good Doctor (2011)

I have always found ethics in the medical field interesting. What is right and wrong for a doctor to do when it comes to treating a patient? The impact of the decisions made by a doctor is literally life and death. For this reason alone, how can the medical field and what is considered right and wrong in this field not be fascinating when the human condition plays such a major role.  A doctor and his feelings are put on display in The Good Doctor, this week’s Movie of the Week. When Dr. Martin Blake (Orlando Bloom) takes a liking to one of his patients his decisions regarding treatment becomes extremely questionable. As you’re watching The Good Doctor, keep a close eye on the behavior, background and encounters of Dr. Blake. How do these aspects of the character make him come across? Is there anything right about what he is doing? After this analysis of Dr. Blake, take film making into account. Does the craftsmanship of the film get in the way of the character and situation being convincing and compelling?              

The Loss of a Legend: Roger Ebert dead at age 70

It was the end of an era in film criticism Thursday when Roger Ebert died at age 70 after years of fighting a brutal battle with cancer. For over forty five years, Roger Ebert was the face of film criticism as he became a beloved film critic through his writing featured in the Chicago Sun-Times and his television program titled At The Movies.

Chaz Ebert, in a statement addressing the death of her husband, said that their life together was “more beautiful and epic than a movie”.  I think this same statement can be applied to Ebert’s Career as a film critic. Whether it me a positive or negative review of a film, Ebert always managed to brilliantly blend his larger than life personality and critical eye, making it clear that he was, above all else, a fan of movies.  

Personally, Roger Ebert is the reason that I view film criticism and reviews as a form of art. He knew exactly how to turn his thoughts into perfectly selected and pieced together words. Even though I need a dictionary at times when reading a review of his, Ebert makes it look easy. I have always had a deep affection for film but Ebert’s television program with Gene Siskel and Richard Roeper was really the first time I was introduced to healthy discussions concerning film. So whether it is this introduction to film criticism or his fantastic writing, Roger Ebert will always hold a special place in my experience as a fan of film. Thank You Roger for the four star career and extraordinary life.