Minnesota native and movie lover Morgan Lee Potter reviews any and all films.
- One girl, thousands of movies; endless rants, swoons, and possibilities!
Directed by: Wes Anderson
Released: 2014
Staring: Ralph Fiennes, Tony Revolori Saoirse Ronan, Tilda Swinton, Jeff Goldbloom, Edward Norton, Willem Defoe, Adrien Brody, Harvey Kietel, Jude Law, F. Murray Abraham, Bill Murray, Jason Swartzman, & Tom Wilkinson
Rated: R
What can one possibly say about Wes Anderson? Love him or hate him (because let me tell you, those are the only options), the man possess the strongest aesthetic vision of any director in Hollywood. Never has a director been so consistent in the quality of his production and product; from Rushmore to Moonrise Kingdom, Anderson continually builds upon his unique style. A rainbow of hues accompany his equally colorful cast who expertly showcase his rapid fire scripts, bringing to life a world distinctly of Anderson's creating. Here is a man who knows what he wants, when and how he wants it, and most importantly, how to get it. The Grand Budapest Hotel is a triumph; funny, dark, and unbelievably gorgeous, Anderson cements himself as Hollywood's most valuable visionary. He has no where to go but up.
The man and master, Wes Anderson
Anderson writes and directs with a hairline precision, making all his films feel of the same highly-saturated world. The Grand Budapest reins above all with it's opulent visual sets, costumes, and scenery. Robert D. Yeoman (with special assistance by Roman Coppola) acting as cinematographer, sets by Anna Pinnock, costumes by Milena Canonero, and three art directors, this lavish production is seamless. Not a color or shot is out of place with the rest. Anderson plays with aspect ratio in a classic, yet non-distracting way, harking back to films of old. The exactness and specificity of all visual aspects provides The Grand Budapest a golden seal of quality.
Alexander Desplat's score, similar to his work in Anderson's Moonrise Kingdom, is just as precise, distinguished, and devilishly funny as the film itself.
The cast of The Grand Budapest is grand in their own right. The many, many familiar faces to have previously graced Anderson's picture are accompanied by fresh and talented new comers. Ralph Fiennes again proves his range as a comedic actor as well as a man of drama. Fiennes' involvement in acting has diminished somewhat in the past few years (focusing more on directing) and his presence from the big screen has been sorely missed. Fiennes performance is just the right amount of panache followed by some expertly timed curse words. I dare to say no other actor could have executed the role as expertly as he.
New comer Tony Revolori is everything a young Wes Anderson hero should be and casting an unknown was a smart choice. Simply glancing at the cast list gives one an idea of what kind of talent and experience the film offers. A director who is able to work with a group of actors not only once, twice, but three times is a true testament to his skill. The Grand Budapest Hotel marks the 7th time actors Bill Murray and Owen Wilson have worked with Anderson on a film, and Jason Schwartzman's 5th.
I do wish I had more to write, but when a film's as tight as The Grand Budapest it speaks for itself. The trailer alone gives the viewer a clear vision of what the film is and what to expect. Undeniably the best film of the year, The Grand Budapest Hotel rises above the mid-winter/first of the year slop that Hollywood produces in the months between Awards Season and Blockbuster Summer Season. If you're not familiar with Anderson's work The Grand Budapest Hotel is a great place to start; it's undeniable charm, snappy script and characters along with it's candy colored appearance make it the most satisfying treat in theaters.
With the marginally overrated Silver Linings Playbook behind him, David O'Russell continues his success with a hilariously talented {and familiar} cast.
Directed by: David O'Russell
Released: 2013
Staring: Christian Bale, Amy Adams, Bradley Cooper, Jeremy Renner, & Jennifer Lawrence
Rated: R
While this is not O'Russell's strongest film, it's certainly is his best script.
O'Russell discovered a successful formula in creating unique and amusing characters; however, strong characters and the actors who portray them can't be relied upon to carry an entire film. 2010's The Fighters and last year's Silver Linings Playbook are solid examples. He takes subjects that could potentially develop into deeper, complex narratives and ultimately turns them into feel good, family success stories. Everyone gets their happy ending, save a politician or two, and the only thing audience members walk away from the film with are smiles on their faces.
Stars Christian Bale & Amy Adams on set with Director David O'Russell.
David O'Russell again proved his talents in both writing and directing but doesn't deliver anything new to either categories. That being said, American Hustle's script turned out to be one of the best if not THE BEST and my favorite of 2013. From start to finish I fully embraced this film as a comedy; Jennifer Lawrence in particular was blessed with one of film's most amusingly neurotic and engaging characters of 2013. O'Russell simply knows how to write great characters (with great actors in mind) "I told you not to put metal in the Science Oven!"is bound to be a new staple for film quote fanatics accompanied by "…so they can get married and have children so the Pope can have more followers." and "Tell me the Ice Fishing story!" Near the third act, the story verges on ridiculous; however, a surprise ending certainly justifies some of the rather outlandish circumstances our anti-heroes get themselves into.
Speaking of anti-heroes, O'Russsell penned quite the ensemble and reunited almost every actor he's worked with in the past three years. Crowd pleaser Jennifer Lawrence does not disappoint; bringing her larger than life personality and injecting it into a character that could have been a whining downer of a woman. Lawrence does some very nice work with this character; the scales are often tipped more towards humor than showcasing true emotion. This role is one where Lawrence's performance mirrored her own personality dangerously close. I don't dislike Lawrence by any means, she's one of my generation's most talented actresses, but I she's teetering on a thin line between character and real personality.
Anyone remember that young, talented unknown actor from Katherine Bigalow's award winning film The Hurt Locker? Oh ya, that young guy…he can act, ya. Ever since The Avengers, I've forgotten that Jeremy Renner is actually quite the talent. His portrayal of the heartbreakingly oblivious Mayor of Atlantic City, Carmine Polito, is adorably innocent and well played. Speaking of Atlantic City, Boardwalk Empire cast member Jack Huston makes a surprisingly pleasant appearance accompanied by another major Hollywood star {no spoilers}
The main cast of Bradley Cooper, Amy Adams, and Christian Bale are strong and work brilliantly as a whole. American Hustle's script demands strong chemistry between it's leads and Adams, Cooper, & Bale exudes a confidence that MAKE the film. Adams is devilishly versatile playing Cooper and Bale's characters for all they're worth. Slowly rising as one of Hollywoods brightest stars, Adams' role in Hustle showcased her best work. Comparing her performance to Lawrence's proves difficult, the two roles are immensely different; however, Adams' performance is vastly more complex and compelling than Lawrence's.
With his pot belly, comb over and sleazy suits, Bale looks the part of slimy villain but co-star Bradley Cooper ultimately ends up with the title. In past years Cooper's work fell by the wayside, nothing exceedingly impressive. I felt his role in Silver Linings Playbook was overrated…please feel free to pelt me with aggressive insults about how wrong I am. Silver Linings was a NEW role for Cooper, different than the work he'd done in the past and for that I acclaim the performance; however, it was ultimately a performance I feel could have been given by any number of actors. I left Hustle with a similar opinion. Cooper is talented no doubt and I enjoyed him immensely, especially in those perm rods, but I feel it was the strength of script that made the performance so entertaining.
O'Russell is just too damn good at writing captivating, unique characters and none are more expertly executed than Irving Rosenfeld portrayed by Christian Bale. Bale is relentless and raw, once again completely transforming his physical appearance. A head toe metamorphosis is one thing, generating an equally impressive acting performance is another and Bale pulls its off. His is a seamless, fully developed character that undergoes an emotional development that the audience clearly witnesses from start to finish. Bale owns both his role and the film and was it any other year, this dynamic performance would have earned him a second Oscar. 2013 was an exceptional year for male performances in cinema, the Best Actor category is already bulging despite the absence of two of the best showings by Tom Hanks (Captain Phillips) and Oscar Isaac (Inside Llewyn Davis)
The sounds, colors, and atmosphere of the 1970's come to life in Hustle, design elements remain consistent and bold from opening studio logos to final credit. Costuming is both hilarious and accurate from Adams' plunging neck lines to Bale's dazzling ascots. This year's Academy Awards will be a closely run race between Catherine Martin for Gatsby and Michael Wilkinson for Hustle. Martin's partnership with Prada resulted in an extraordinary fusion of modern glam and classic silhouette but Wilkinson's devotion to accuracy in 1970's fashion proved just as exciting! Both were stunning and imperative in creating defined worlds for each film; the decision of who takes home Oscar will be a difficult one indeed! A great soundtrack and groovy original score from a personal favorite, Danny Elfman, only boost the quality of Hustle higher.
Charming, witty, and unashamedly gaudy, American Hustle proved to be a far greater treat than expected. This is nothing new from David O'Russell and doesn't quite match The Fighter in overall direction; however, it's superior to his previous hit Silver Linings Playbook. A strong main and supporting cast play up O'Russell's droll ensemble of characters and appeal to a wide audience.
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...
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.
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.
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.
You know James Franco was high on set when he repeatedly called Glinda "Wanda" for a good 30 minutes of the film.
Directed By: Sam Raimi
Released: 2013
Starting: James Franco, Michelle Williams, Rachel Weisz, Mila Kunis, voice talents of Zach Braff & Joey King
Rated: PG
Times viewed: 1
The fantasy genre has always been a favorite of mine and I'm always open to a new, exciting revisit of the classics; however, the original trailer for Oz: The Great and Powerful left me feeling anxious for several reasons. First, James Franco. I know he is a huge darling of many a young hollywood fan but in all honesty I find him as dry as the blunts he probably smoked during the filming of this movie. Are blunts dry? I don't really know...we'll say yes for simile's sake. Second was the visuals...As I've mentioned in previous post, I am not a huge fan of 3-D dependent films...but I figured since it is a FANTASY film along the lines of Tim Burton's Alice in Wonderland, it could be forgiven and James Franco ignored.
Months pass and eventually my excitement to see Oz grew, so last tuesday night (it was a slow week) my friends and I made the journey to our local AMC. We bought our outrageously expensive tickets, popped on our hermetically sealed 3-D Ray Bans, and were prepared to be wowed by the spectacle of the Land of Oz!
Overall Impression
Oz: The Great and Powerful, while high on visual splendor proves to be lacking in script and quality acting.
The biggest disappointment from this film was my expectation for it to be MORE than a children's movie. From the trailer it seems darker, scarier...just what Hollywood has been doing with recent remakes of classic children's stories, fairytales and fables (Red Ridding, Alice in Wonderland, and Hansel and Gretel) While there are definitely some very scary creatures including the Bad Witches flying baboons and the Green Witch herself, Oz is without a doubt a children's movie. I honestly had no clue going in to the film that it was rated PG and after seeing the flying baboons I was almost positive that it was PG-13...but then the last hour commenced and the sap started to flow.
Would your 10 yr. old child be ok with this crazy creature reaching out of the silver screen? I don't think I could have handled it!
Once the audience scrapes past the intricate and impressive land of Oz filled with high chroma characters and iridescent fog and bubbles, they'll find the film itself is another watered down attempted to teach children that GOOD ALWAYS WINS...even if the man who get's you there is a total con artist. The script is just sooo dumbed down filled with question, answer, question answer conversationa and lot's of "Look out! This way! Oh my goodness! There're behind us!" The whole film (concerning the script) verges on the edge of too literal to enjoy for an older audience. At least in a film like Tim Burton's Alice in Wonderland, Burton effectively utilizes some mature jokes and characters to engage his older audience and fan base. Burton is the master at incorporating the morals of a children's film with the maturity of adult fantasy without catering too heavily to one or the other. Biggest examples Alice in Wonderland (which I'll compare to Oz a bit later in a visual aspect) Frankenweenie, and Charlie and the Chocolate Factory.
Now WHO was it that directed this film? SAM RAIMI. Sam, father of gore n' horror, RAIMI. How he convinced Disney to let him direct this movie I'll never know, but I feel like there could have been so much more from him. I feel, since he knew he would be dealing with a well known children's story, he had to dumb it down to avoid any type of backlash from the company and parents alike. I suppose it's a bit unfair to compare Raimi to Burton..I mean let's be honest...Sam Raimi and Tim Burton operate on opposite ends of the horror scale. Tim creates the quirky, creepy characters, but never anything in the gore end of horror (save Sweeney Todd)...that's Sam's territory. The man creates whole movies around the concept of dismemberment and chainsaws. i.e. The Evil Dead. Perhaps they two should have a meeting and exchange notes...I love Tim Burton and after watching The Evil Dead 2 I've decided I kinda, sorta do like Sam Raimi and his cats in a box style of directing and creating.
James Franco with Director Sam Raimi on the set of "Oz: The Great and Powerful."
Is that the book of the dead you're reading Sam?
So now I have you completely confused by my self contradictions "Oh it's too scary for children, but the story line is too dumbed down to be taken seriously by an older audience." I have to apologize, but honestly, I'm not sure WHO to recommend this movie to...The movie was easy to follow, not confusing, definitely fun to look at but THIS SCRIPT IS SO BAD! So I guess I'll start by giving you some of my positive reactions to the film first...
Visuals concepts, 3-D, & the first 45 minutes.
As I've written before, this movie is gorgeous to look at. The opening credits are fantastic featuring optical illusions and such, all in mind bending black and white. I really LOVED that when the film started in Kansas they used the same black and white color palette as well as the smaller screen ratio. The film didn't HAVE to be made this way...the creators could have assumed everyone knows the classic Wizard of Oz and will connect the Kansas in that film to the Kansas in this film but they used the same techniques anyway and I really appreciated that. What I also almost passed out over was (*small spoiler*) the girl who Oz was in love with in Kansas (also played by Michelle Williams) said that she was going to marry Frank(?) GALE. AS IN DORTHY GALE'S FATHER!
And Disney was kind enough to put the beautiful opening credits on youtube! Even more impressive on the big screen in 3-D
A magical score by Danny Elfman makes me think if this really WAS a project intended for Tim Burton...
As stated numerous times, I am not a fan of 3-D being put in to films when it is NOT needed or movies that are primarily visual effects, HOWEVER for Oz it all works because this is set in a fantasy land that couldn't exist without the help of 3-D and CGI. Apart from several locations that look more like Wonderland than Wonderland did in Tim Burton's adaption, the set design behind this world is brilliant. I'll let the pictures speak for themselves.
The humor in the first 45 minutes or so of this film is actually quite good. Franco (whom I don't care for) is overly theatrical, charming and a total con artist. Exactly who he should be. But then...after the Balloon has landed in Oz and Mila Kunis' character get's involved...it's all (apart from the visuals) down hill from there.
The Bad
The Acting
Apart from James Franco, I had high hope for the cast of OZ. I mean, Michelle Williams? She's brilliant! And Mila Kunis proved in Black Swan that she is more than just Jackie. And Rachel Weisz is consistently engaging and believable. Sadly ALL fell apart due to a TERRIBLE script. Proof that bad writing and a bad story can lead to an over all bad movie and the impression of bad acting. I must say...Mila Kunis without a doubt is the WORST. I can't even describe how terrible she was...It was rage and pain but rage and pain that a high school student does in their sophomore one act play. It didn't help when she did turn truly evil and transformed into the wicked witch she looked like THIS...
LET'S MAKE HER AS LITERAL AS POSSIBLE!
I mean this LOOKS awesome right? Right...until she appears and opens her mouth.
Costuming
This is my territory people and let me put on my Tim Gunn face and say this...EDIT PEOPLE EDIT!! There was just so much random crap thrown on EVERYONE, especially Rachel Weisz's character. Gorgeous, green sequin dress? Lets add feathers on your back AND shoulders AND a huge slit so you can wear leather leggings AND knee high boots! Just WHY!?
So the top I love...then as we go down it's a dress with leggings underneath and just WHY!? I can't explain.
I feel like there was no turn direction or concept behind these costumes. No connecting thread...Glinda is dressed in half 1930s evening gowns and half Galadriel armor...Mila Kunis was an Equestrian Rider(I actually would have loved that in a different movie), then a 1950's debutant, then THEE most literal translation of "WITCH" If I ever saw one. Individually there are parts of each costume that were impressive but when brought together they just confuse the audience and don't give any inspiration to the true feeling of the land of Oz. Costuming is SO important to the overall feeling and continuity of a film...I feel Oz just assembled 3 different costumers, had them all make separate collections, then picked at random interesting pieces from each. If you read my review of Anna Karenina, you'll understand the importance of connection, continuity, and a solid concept in costuming.
I cringe because this ensemble has NO place in the film! It doesn't fit....
PLUS!!! #1 irritation, the people of Oz didn't where a spec of green!? Anger and sadness.
An original screen play? About Zombies? INCONCEIVABLE!
Directed by: Jonathan Levine
Released: 2013
Staring: Nicholas Hoult, & Teresa Palmer featuring Analeigh Tipton, John Malkovich, Dave Franco, and Rob Corddry.
Rated: PG-13
Times Viewed: 1
If we were to take all the zombie movies produced in the past 10 years and turned those movies into real zombies, there'd be enough to conquer the entire human race in about two hours. If we were to take all those zombie movies with predictable, reacurring plots and turned each of those movies into two zombies, there'd be enough to conquer the entire human race in about a half an hour. I'm not quite set on the mathematics of that, but what I'm trying to say is, I've come to not expect anything original coming from Hollywood these days, especially if it has the word "Zombie" attached to it. Recently released Warm Bodies has proved to be the pleasent exception.
Based on the Novel of the same name the book "Warm Bodies" opens with this poem by Herbert Mason...
You have known, O Gilgamesh
What interest me,
To drink from the well of Immortality.
Which means to make the dead
rise from their graves
And prisoners from their cells
The sinners from their sins.
I think love's kiss kills our heart of flesh.
It is the only way to eternal life,
Which should be unbearable if we lived.
Among the dying flowers
and shrieking farewells.
Of the overstretched arms of our spoiled hearts.
-Gilgamesh, A Verse Narrative.
Nice cover art.
I haven't read the book, but after seeing the film and reading the first couple pages online I'll have to check it out.
Back to the film, it's witty (I seem to by typing that word a lot) and original. Zombie apocalypse, kill ALL the zombies. ALL the zombies are evil right? Negative. The story begins at an airport, among the monotone grays, browns and blacks of shuffle zombie figures, a pop of red ambles through the crowd. This is R, our hero. Not the battling zombie killer you'd expect to open the film, mowing down his opponents in hails of gunfire and bloody savage cries; but a zombie himself. R narrates most of the film, dealing with his...situation with good spirit. Considering he's dead. Here's nice clip of the first four minutes.
The first four minutes definitely has one of the funniest opening monologs that I've seen in a while. And do you know why? Because they have good material to work with. I don't really see why hollywood hasn't figured this out yet. Find a good, funny book and that book with undoubtedly make a good funny film! Just don't tamper with it too much. Now as I said before, I haven't read the book so I can't tell you all for sure if the director stayed true to the book, but from the audiences perspective, people where laughing through a good 3/4 of the movie. The rest of the time was skeleton shooting action. I'd say that's a job well done. Having a movie from the zombies perspective was honestly hilarious, especially when R picks up a warm blooded living human, Julie, and brings her back to his ultimate bachelor pad; an abandoned passenger airplane filled with his favorite vinyl and other random objects that speak to his lifeless zombie sensibilities.
Julie and her gang were on a recon mission for her father, Colonel Grigo played by John Malkovich, collecting medical supplies outside the massive wall that protects the city from the corpses and skeletons (bonies) At the same time, R and his pack travel towards the city in search of some dinner. The two sides meet inside a medical clinic and, as in all zombie movies, gun fire and grunts ensue. During the scrim, R sees Julie for the first and falls bloodless head over heels. However, Julie's sour boyfriend Perry interrupts, and in attempts to shot R is killed himself. In order for him not to come back as a zombie, R eats his brains thus consuming his emotions and memories. This part was actually quite heartbreaking as we see flashbacks of Perry's childhood and later the death of his father. After the zombie horde had eaten their fill in human flesh they head back to the airport. R, so taken with Julie wipes some....umm...liquidly brown stuff on her cheek so she'll be able to come with him unnoticed. I'm guessing this was the equivalent of zombie blood since the zombies don't bleed.
R and Julie's first interactions are hilarious as he tried to communicate with his zombie grunts and moans as well as awkwardly staring for long periods as the terrified girl. "Don't be creepy, don't be creepy, don't be creepy."
Nicholas Hoult as R, a zombie with heart, connects with Julie, played by Teresa Palmer.
Overall this movie was a treat. I was entertained the entire time, laughing for most of it. The zombies attempting to communicate with each other and with the humans were the best parts. R's friend M, once he learns to talk, is a highlight of the film, running over Bonies with a airport cart and translating the other zombies groans of agreement to "Fuck Yeah."
Nicholas Hoult as R and Rob Corddry as his best bud in death M
Speaking of swearing, other than "Bitches" and the blood and violence of course, this was a fairly, dare I say, family friendly movie and I think it work's to they films advantage. Many movies today that are aimed at a teenage audience think the have to be crude, overly sexual, and excess in gore. Warm bodies does have the violence I enjoy in any zombie movie, but it doesn't consume the entire picture as some do. This movie also had the opportunity to have more than it's share of creepy zombie on human sex jokes but it stays back from that area, letting the awkwardness of the zombies communication be the real joke. This kept the credibility of the film in check. Now I'm definitely no prude when it comes to the movies, especially zombie ones, but it was kind of nice not to be showered in blood and sex for once; it opens the film to a considerably larger audience. In the screening I went to, there was quite a large number of children younger than 10 in attendance. And they all enjoyed the movie immensely.
The film was quite well acted, lead zombie turing human R was played with great shrugging awkwardness by Nicholas Hoult who, with his spiky emo hair, brooding eyebrows and sharp features looks like he should be a regular on The Vampire Diaries (although I can't know for sure, I don't watch it) I loved seeing Analeigh Tipton who I will ALWAYS recognize from from cycle 11 of Americas Next Top Model, back when that show was actually good. After seeing her in last years Crazy Stupid Love, I was pumped when I saw she would be in Warm Bodies, yes she does more or less play the same, gangly, quirky best friend but I think she's a breath of fresh air. So distinct and goofy. I hope she continues acting even if it is only in Rom-Com supporting roles. John Malkovich was John Malkovich as he is in all movies, wonder where he has been hiding these past couple years? And as I said earlier, R's friend M is like Nick Frost to Simmon Pegg a la Shaun of the Dead.
The only problem I had with this movie was that the make-up was sometimes inconsistent. I do appreciate that they chose to use mostly make-up and not special effects on the zombies, however the amount of make-up on R varied throughout the film. Sometimes he had black circles under his eyes then they were gone, then they were back. Some scenes he had prominent blue purple veins creeping up his next and in the next shot they were gone. But honestly I'm not going to give them big fault on things like that; for the majority of the film the make-up was quite good.
Warm Bodies features some great tunes as well...apparently one man leaving the theater did not appreciate it but I liked the "crappy 80's music."
I would request this film to EVERYONE! I really did have a good time watching it. Plenty of laughs and many "aww" moments. Humorous, cute, but with enough zombie action and blood to interest all parties.
