Her

Watch your back Siri, you have some competition and she's voiced by Scarlett Johansson...

Directed by: Spike Jonze
Released: 2013/14
Starring: Joaquin Phoenix, Scarlett Johansson, Amy Adams, Chris Pratt, Rooney Mara, & Olivia Wilde
Rated: R

  Every year the Academy picks a grouping of movies, their premises fairly basic and straightforward. Then there's one film who's synopsis causes folks to tilt their heads to the side, furrow their brows and ask the film industry's most important and controversial question. "Huh?" Perhaps I'm being dramatic; in reality Her's premise is about as straightforward as they come. Lonely man falls in love with his operating system (sub with 'computer' based on audience) and rediscovers the joys and pain of love.

  Compared to a southern slavery drama, Scorsese+DiCaprio performance piece, sexy 70's mafia flick, or even technologically advanced space adventure, Her does seem like the odd duck…BUT, when you put all these ducks in a row you realize Her isn' out of place at all. It's Titanic, it's Blue Valentine, it's Casablanca, it's the tragic love story of the year! One half of the romantic leads just happens to be detached voice. This results in a uniquely alluring film that messes with it's audiences in all kinds of unexpected psychological ways.

  I didn't know what to expect from Spike Jonze's fourth feature film; I knew that a piece of my heart cried every time I saw a trailer.  Her proved to be one the most emotional romantic dramas of the past year. Highly stylized, with a clever and touching script, this film boasted a brilliant blend of laughter and heart break. Joaquin Phoenix's character could have easily become a downer for the entire film, dragging it from quirky romance to depressing sob story, {*cough* Blue Valentine *cough*} but proper editing and a special supporting cast keep the overall tone light.

  Editing in this film magically transports the audience back in time, allowing them a look at the lonely Theodore Twombly in the best and worst of times without being distracting. This editing is a great example of Jonze's understanding of the human condition. He realizes emotions towards others are based off of past experiences, and visualizing a varied range of experiences gives the audience a better understanding of our hero and his relationships.

  Set during an undetermined time in the present future, Designers could have gone the cliche, white wash route, but I must say, it was refreshing not to be drowning in chrome, spandex, and alabaster walls. This future is not so different than ours, the warm hues and textures give the world a lived in feeling; more welcoming than the cold, sterile air often portrayed in film. The advances in technology, fashion, and living are present, but they're subtle, verging on un-noticeable differences. The beautiful approach to the design delivers a mores substantial film. Substantial in the sense that this future is a realistic possibility, leaving audiences to open to the idea that a man could fall in love with his organizational device…if that hasn't happened already.

  In a nice stylistic choice, the warm oranges, yellows and browns of the film give Her a faint 1960's vibe; reflected in costuming and the atmosphere of the film in general. Atheistically, it's retro and modern at the same time. This charming blend gives the film it's physical appeal. True, a good portion of Her is tight shots of Joaquin Phoenix's mustached face (EVEN THE STACHE IS RETRO) but once the lens retracts we're treated to some clever camera work and beautiful colors. Again, this is smart editing and film making on the part of Spike Jonze. A film this personal and emotional needs to have it's fair share of medium and wide shots to balance out the many intimate close-ups.

  Speaking of intimate...
Her features several interesting sex{?} scenes, the best of them involving a partner voiced by Kristen Wiig , a dead cat and strangulation…I'll just leave it at that.

 

The relatively small cast is talented and as unique as the film. Amy Adams is almost unrecognizable as Theodore's fresh faced friend. The role was a smart choice for Adams, allowing her to show off not only her comedy, which we already know and love, but also her talent in a real life roles. Although I've yet to see it, when compared to her role in American Hustle, Adam's character in Her is (visually at least) a near polar opposite…There's nothing I enjoy more in an actor than diversity in their body of work and over the past couple years Adams has explored a vast range of characters proving she's willing to take risks and work hard in an industry that readily type casts it's young, bright actresses.  Oliva Wilde and her gorgeous face make an amusing appearance and Chris Pratt wins a few chuckles from the crowd as well.

  When Joaquin Phoenix isn't trying so hard to convince the world he's a great actor by putting on a charade for two years, he is a great actor. The man is completely ridiculous, but when he's not striving for attention and commits to a role he's quite enjoyable to watch. Phoenix takes a role that, as I said before could have been dead weight, and balances the heartbreak with joy. Theodore Twombly remains a sympathetic, but not pathetic, character throughout the film. In addition, the fact that the majority of this film is Phoenix acting to the open air, responding to a recorded voice, is a feat to be recognized.

   The recorded voice is that of Scarlett Johansson. Over the years I've remained somewhat indifferent to Johansson's acting...she's always good, but never great. Her body of works doesn't strike me one way or the other. Johansson is an actress that can play almost any role in any genre of film, which is fantastic, Hollywood needs such actresses; however, I don't peg her as the best in the business. This being said, Johansson's performance in Her is a highlight in her career. The actress has a certain vitality in her voice that creates such a presence without ever needing the visual. Her's is a bright, lively voice you can't help but enjoy it. The breaks, breathes and squeaks are so distinctly human it's not difficult to rationalizing falling in love with her. Johansson masters emotional inflections and tones which, if not paired with a face can sometimes be hard to recognize. The audience knows what her character is thinking and feeling without needing to see a face; exactly what's required to make this role, and the entire film, work.

  In it's second act, Her delves deeply into the discovery of emotions, what they mean, and how they set humans apart from other beings. Do our emotions make us individuals or do they hold us back from discovering more? Students of Psychology should get excited because they'll finally have a new, and not entirely depressing film to watch in class…you can only sit through A Dangerous Method and The Mechanist so many times.  Surprisingly moving and unique, Her offers a perfect fusion of humor and misfortune. A less than happy ending doesn't leave audiences completely downhearted, but keeps the film grounded in reality. January-March is notoriously cinema's slowest months in releasing quality films, it's the Awards Season/Summer Blockbuster lag...In actuality this charming film will most likely be forgotten in the midst of big titles like 12 Years a Slave, American Hustle and that lot, but if audiences are looking for a fresh romantic comedy/drama in the fading winter transition, Her fills that slot.

Me, thinking about the oncoming late-winter, cinema slump
See you in March when Wes Craven's Grand Budapest Hotel comes out...

Dallas Buyers Club

Looks like SOMEBODY wants to be a real actor this year…

Directed by: Jean-Mark Vallée
Released: 2013
Starting: Matthew McConaughey, Jared Leto, Jennifer Garner, Denis O'Hare
Rated: R

  If I could give out ONE film award for all of 2013, it would be the "Congrats on finally becoming a real Actor" award and it would be given to one Matthew McConaughey. From Dazed and Confused to just about every Rom-Com in the past ten years, McConaughey resume has been far from impressive. A confident swagger, dark skin and blinding white teeth make him a romantic comedy casting directors dream; for years, and years...and years, that's all he did! Come 2011, something or someone gave McConaughey a swift kick in the behind and so began the slow crawl from hottie heartthrob to talented leading man. Yes, we still had to deal with relapses (the cringe worthy Magic Mike) but in just one year, McConaughey has given 2 of the best performances in his entire career. His primal, hilarious, and all too small role in The Wolf of Wall Street {Review HERE} and of course, Dallas Buyers Club.

  Dallas Buyers Club tells the real life story of Texan Ron Woodroof. An unashamed redneck and homophobe, Woodroof is diagnosed with AIDS and told he has 30 days to live. Determined to do whatever it takes to live, Woodroof seeks alternative treatments, eventually discovering the then unauthorized medication AZT. Upon it's discovery, along with several other drugs, Woodroof decides to make a buck while helping others with his condition. Assisted by the confident, transgendered Rayon, the two create a club dedicated to making money and healing those that hospitals and their FDA approved drugs couldn't.

McConaughey's transformation from stud to dud.

  I'm quite certain the term "He plays himself in every movie" was created to describe Matthew McConaughey; harsh, but true. It's a disease many in Hollywood suffer and almost impossible to escape, especially when one has such a distinct look, accent, and attitude as McConaughey. In Dallas Buyers Club, he does away with all but one, the accent of course. This film was about re-invention for McConaughey, both physically and emotionally. The actor dropped 47 pounds and his good looks to play Ron Woodroof; hustler, homophobe, and ailing AIDS patient. Protruding collar bones are not the only revolting thing about this character. Unlike his past roles, Woodroof is not a likable charmer, he's a hooker-loving member of Dallas' white trash community. McConaughey's charm and wit turn to sleazy words spoken by a greasy, foul mouthed low-life. Any sympathy that this character should have received from the audience is absent due to the fact he's a horrible human being. As the Doctor tell him of his positive AIDS test, the audience sits with a smug, serves you right attitude; however, Woodroof's journey and transformation quickly win viewers. Winning the viewers is perhaps not the correct word, but it feels right. McConaughey keeps his character consistent, it's not an overnight change from homophobic cowboy to hero of the AIDS/HIV community. Remaining relatively unlikeable for a good portion of the film, McConaughey's character develops an odd love/hate relationship with Jared Leto's color Rayon.

  In his return to film for the first time in four years, Jared Leto creates a character, much like
McConaughey's. Audiences will love Rayon for her vibrance and I don't give two shits what you think about me attitude, but her destructive tendencies are infuriating. Leto is obviously aware and plays it up throughout the film. Woodroof's partner in crime, Rayon is the lovable transgender woman who knows how to push buttons and get reactions. Leto can stand toe-to-to with McConaughey, in heels, and win the fight. The chemistry between the two is electric and real. They play off each other in a despising and eventually affectionate fashion that makes their friendship and the journey all the more emotional. Leto plays Rayon with a playfully destructiveness while McConaughey's Woodroof emits an over-guarded, seriousness that provides the film with a nice contrast between it's leads.
  The film itself is not particularly strong, staggering between dark comedy and serious social commentary. That being said, it's offers more than it's share of entertainment and emotion. This film is about transformation, and not only by the actors, but by the characters they portray. In the early portion of the film, Ron Woodroof is NOT a character the audience is cheering for, yet by the end he's somehow metamorphosed into a hero. Once he gets past his condemning, fearful attitudes, he's a pretty funny guy who just wants to help people…and make money.

Ron Woodroof isn't going down without a fight, and a couple extra dollars in his pocket.

 Dallas Buyers Club offers many a hearty laugh as well as big heart at it's center. Perhaps that's what took the film down a couple notches. Near the end was almost TOO heartfelt…
The first act plays as a serious drama, the second as a comical, developing friendship adventure, leaving a weak third act to dwell in limbo. The film jumps between it's moods too often, not wanting to commit to drama or comedy. I do believe a film can be a perfect blend of the two, but Dallas Buyers Club didn't quite make the cut.

  McConaughey and Leto give committed, strong performances, leaving fellow cast member Jennifer Garner lost and confused. And I don't mean this figuratively, Garner honestly looks lost in her role.   Her rapid blinking, taken aback face and constant look of worry don't play well in the film. She plays her character with a fragile restraint that doesn't meld with her cast members. Garner's was the only role I felt was mis-casted and slightly baffling in a company of break-out, rejuvenating performances.
  Previously one of my least favorite actors in Hollywood, McConaughey proved to me he can do serious work just as well, if not better than charming rom-coms. Dallas Buyers Club is one of the better comical films of 2013; one I would watch again and recommend based on the excellence of it's male performances. Dallas Buyers Club is a prime film that shows audiences history and the people behind it. Heartbreaking and heartwarming, the topic of HIV/AIDS is still important today and even more important is the message of acceptance and love that Dallas illustrates.

  McConaughey and Leto's Golden Globes were much deserved however, both actors missed out on an opportunity to raise awareness on the subjects they depicted. I was disappointed by both speeches, the men took the chance to congratulate themselves on their transformations and the "scarifies" they made in developing their characters rather than addressing the real people dealing with HIV/AIDS. Leto hinted at it in the end of his speech, but McConaughey's acceptant was truly devastating. Sadly it came off as self righteous, self congratulatory and reaffirm my belief he, as a person, is somewhat of a Southern airhead. But I'm not here to comment on MacConaughey's behavior or vanity issues; I'm here to tell you that he's branching out, he's testing the waters, he is finally becoming a real actor. I only hope that, should he or Leto again get the chance to accept an award, they recognize the true scarifies real people have made while dealing with HIV/AIDS and acknowledge them for their bravery.

The Wolf of Wall Street

It's called GREED Old Sport! 

                Oh wait…

Directed By: Martin Scorsese

Released: 2013

Staring: Leonardo DiCaprio, Jonah Hill, & Margot Robbie 

with special appearances by Matthew Mcconaughey, Jean Dujardin and that guy who plays Nucky Thompson's brother Eli on Boardwalk Empire - Shea Whigham.

Rated: R

One hell of a showboat performance from Leonardo Dicaprio

 Aka: The Great Wolf of Gatsby Street

  "I will tell you God's truth, God's truth about myself. I'm the son of some very wealthily people; sadly they're all dead now."

       And I can say after watching this film I cannot help but be baffled by the fact that not only did this main character and his antics exist but he's still alive to write about it. 

The true story of Jordan Belfort, stock broker, drug addict, and womanizer is 100x more unbelievable than the tales one Jay Gatsby strings and weaves for an innocent Nick Caraway. I only draw the comparisons to the two films due to the lavish parties, booze, drugs, women and uninterrupted flow of illegally obtained cash...And the two films star of course, Leonardo DiCaprio.  

  Remember earlier this year when I reviewed  The Great Gatsby and I said something along the lines of his role in that film would not being enough to garnet the talented actor with an Oscar? It was going to take more than the charmingly passionate, love-sick millionaire Gatsby to get the coveted golden statue on his mantle piece. If there was a role DiCaprio could have, would have, SHOULD have won for in the past two years it was Calvin Candie in Tarantino's Django Unchained. Alas, poor Leo was not even graced with a nomination for his exceptional performance. With 7 days until nominations for the 2014 Academy Awards are released, The Wolf of Wall Street is DiCaprio's best shot at Oscar gold. 

His performance isn't just good, it's a nose full of coke, Mia Wallace "I said GOD DAMN, GOD DAMN" good. Sex, drugs and shootin' the authorities a big ol' fashion fuck you, are the precious cargo filling Scorsese's crazed ship and DiCaprio is the captain.

  I'm a fan of actor-director relationships films. Tim Burton has Johnny Depp, Nicholas Winding-Refn has Ryan Gosling and Martin Scorsese has Leonardo DiCaprio; when two artist work together on a regular basis it not only brings a familiar feeling to the film, but both are able to experiment and take risks. This couldn't be more apparent than in The Wolf of Wall Street. The Wolf is the product of an actor-director relationship that has surpassed all levels of comfort and flow into a realm of UNcomforted that only could be explored by very close friends. I've already used up one of my swears and I'll use another now, a shit load of craziness and debauchery, that is what Scorsese and DiCaprio create. The film is jam packed full of unbelievable circumstances that upon hearing, one would think nearly impossible to put on screen; but this dynamic duo does it in high flying, unforgiving fashion.

  

  The Wolf of Wall Street works because it's biggest star holds nothing back and it's director captures it all. DiCaprio is a powerhouse in the film; a larger than life personality and presence that, on more than one occasion had members of the audience clapping and cheering. DiCaprio shows not only how completely selfish and crazed Belfort was but also exudes the persuasive force that inspired his employees and later lead him to be a motivational speaker. Jordan Belfort is a disgusting character; an asshole, yet all you can do is shake your head and laugh when he gets in deep. You want to see just how far down this man can go before he's buried in his own filth and mistakes. DiCaprio brings the charm and sleaze to this corrupt animal all at once, making him nearly impossible to dislike. 

   Members of the supporting cast are individually strong, discovering their own characters and holding fast to them throughout the entire film. Actors who have been duds or type casts in years past dish up some hilarious and pinnacle performances. Matthew McConaughey's appearance is brief but a real highlight of the first half of the film. Jonah Hill provides the audience with a bundle of squeamishly laughable moments and commits to offering more than enough of his physical self to the camera. 

 

As I defended Baz Luhrman's over the top production of The Great Gatsby, I must also defend Martin Scorsese's choices; it's his personal directorial style. Something it seems many reviewers and audiences just don't get it. Have you seen Raging Bull, Goodfellas, Casino? Are you really surprised by profanity? This is a serious question and something that truly irks me. ARE YOU REALLY SURPRISED? I shake my head when I read reviews condemning Scorsese, for the vulgarity of his films, especially The Wolf of Wall Street. In this case it's not only the directorial style but also the subject matter that must be taken into account. The Wolf of Wall Street is based off of Jordan Belfort's autobiography, and having read excerpts from the book, I can tell you the film is pretty spot on with Belford's description his over the top lifestyle. Upon entering a Scorsese film, one must be prepared for a heavy helping of F-bombs, accents, and boobs. After seeing The Wolf, I'm quite sure I'm immune to all. 

  As a movie fan, I tend to stay away from comedies, not because I don't enjoy a good laugh, but because let's be honest, most "comedies" produced now a days are rubbish…I'm not even sure comedy is a genre anymore…that's the odd thing about The Wolf, it has more than it's fair share of laughs, but should I be pegging it as a Ha-Ha funny COMEDY? I don't know. It's laughs come from it's absurdity…like The Hangover (which I thought was funny the first time around then hated the next 3 times I was forced to watch it) but real. 

  Clocking in at a solid 180 minutes, The Wolf of Wall Street proves to be the longest running comedy on the market today. I say comedy because there really is no other genre in to which to place this film. All of Scorsese's works have their far share of laughs, mostly delivered by unique and outlandish characters. It's the people and the situations they get into that produce the biggest laughs. A drooling DiCaprio, resorting to rolling himself down a flight of brick stair because he's lost almost all of his motor skills due to a drug overdoes is ridiculous…and funny as hell. Jonah Hill's disturbingly white, propionate teeth are funny. Matthew McConaughey rhythmically pounding his chest and emitting primal, cave man-like beats is funny. A looping plane full of hookers, coke, and naked men is, dare I say it, FUNNY. What I'm trying to get at is this, The Wolf of Wall Street is brash, disturbing, and often cringe-worthy (definitely not for everyone) but it is a comedy. A comedy that may just deliver Leonardo DiCaprio that Best Actor Oscar that has eluded him for too long.  Do I think it's the perfect holiday film for audiences to see with Mom and Pop? Absolutely not. Is it a seamlessly crafted performance piece for DiCaprio full of raunchy laughs and depravity? Absolutely yes. 

  Now all I can do is sit back and have a mental battle with myself as to whether Oscar Isaac or Leo is more deserving of the Academy's honor...

If DiCaprio wins and I don't see this exact dance, I'll be very disappointed.

Inside Llewyn Davis

The Coen brothers knock it out of the park once again with their painfully truthful portryal of a 1960's folk singer's struggle for success and survival. 

Directed by: Joel & Ethan Coen
Released: 2013
Staring: Oscar Isaac, Carey Mulligan, Justin Timgerlake, John Goodman, Garrett Hedlund, & Adam Driver.
Rated: R

  If there's one thing Hollywood loves, it's films about show business and rising stars. If there's one thing Hollywood loves more, it's films about those rising stars crashing and burning. Quite often we see these films taking place on the glittering streets of Broadway, grungy British pubs, and Cadillac recording studios. The Coen Brothers take the story of the struggling artist and place within a minimalist genre. The absence of  gaudy, loud shows leaves the audience susceptible to the characters and the raw emotions that fuel this quiet powerhouse of a film.

  Born in St. Louis Park Minnesota, the Coen Brothers bring their uniquely distinct Midwestern style to New York's Greenwich Village. The Brothers are known for their odd company of characters and relatively abstract stories and Llewyn Davis is no exception. The Coens have released a series of hits and misses throughout the past couple years. No Country For Old Men ('07) hit, Burn After Reading ('08) miss, A Serious Man ('09) miss, True Gritt ('10) hit. Inside Llewyn Davis is a sure fire hit.

Ethan Coen, Oscar Isaac, and Joel Coen on set.

  A first rate acting ensemble brings the Coen's distinct troupe of characters to life. Oscar Isaac's performance verges on bitter perfection. In the title role, Isaac creates a character the audience gets behind and supports, but he doesn't shy away from Llewyn's nastier nature. It's that brutally honest frustration, jealousy and exhaustion that makes Isaac's performance one worthy of Academy notoriety. Blending seamlessly with his emotion acting performance, is Isaac's singing talents; his voice is clear enough to raise goosebumps but it's the spontaneous edge that brings his character to life. Marcus Mumford adds his famous voice to the brilliant folk soundtrack, fusing perfectly with Isaac.

  Cary Mulligan, who has become quite the Hollywood darling over the past couple years, gives a firecracker performance as Llewyn's friend, part time love, and worst enemy. Mulligan doesn't hold back when it comes to berating Llewyn and giving him a piece of her mind.  The performance borders on melodramatic but works, adding a spark of heat to the chilly atmosphere of the film. Accompanied by a giddy Justin Timberlake, the two make an odd and slightly cartoonish couple; a perfect fit for the Coen's script.


  Inside Llewyn Davis works so many levels because the Coen's don't shy away from reality. What we the audience may see as unfair treatment of our anti-hero are the truthful consequences of many an artist. Llewyn's struggle and stubborn attitude are unrelenting, leaving the audience almost as frustrated as he is. The the film, like so many in the Coen's repertoire, are neither drama nor comedy, simply a commentary on the life of one man. That being said, Inside Llewyn Davis is one of the Coen's more humorous films thanks in large part to a restless cat and a handful of supporting actors like Timberlake, Adam Driver, and John Goodman.

  With it's misfit company of characters, superbly performed folk melodies, and heat-wrenching story, Inside Llewyn Davis should be a critical and commercial success for both Writer/Directors and actors alike. It's modern, yet classic; Isaac's performance is definitely in contention as one of the best of the year and as far as the film itself is concerned, it's one of my personal favorites of 2013.