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...
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.
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.
Directed by: Peter Jackson
Released: 2013
Staring: Ian McKellen, Martin Freeman, Richard Armitage, Orlando Bloom, Evangeline Lilly, Lee Pace, Benedict Cumberbatch and Luke Evens.
Rated: PG-13
At this point introducing any film from J.RR Tolkien's Middle Earth brought to you by Peter Jackson is nearly impossible. The films speak for themselves and The Desolation of Smaug is no exception.
Rewind to 2001, a series almost forgotten by many mainstream book enthusiast regained a new life in the hands of one unknown New Zealand director. The Lord of the Rings series had been adapted from its book format before, but never in such an appropriate, epic style. Seemingly overnight names like Frodo, Gandalf, and Gollum became household names, and 'Hobbit' may be used as an endearing term to describe your hairy footed uncle who can't recall if this is his first or second breakfast. With multiple Oscars under his belt including one for Best Picture in 2003 and more than a fist full of dollars (highest grossing film of 2003), it was only a matter of time before Peter Jackson returned to Tolkien's material.
We, the anxiously awaiting (fans) public, knew we'd get the The Hobbit sooner or later, what we did not except was 3 Hobbit films, all filmed in sequence at 48 frames per second with extra material, not published in the original book, but Tolkien's none the less. There was much debate over which portions were Tolkien and which were Jackson's; an uproar sounded in the Middle Earth community, whether it was one of joy or outrage was hard to tell but in the end audiences got much more Hobbit than was expected.
I've spent many hours reading, watching, and rewatching the original Lord of the Rings series, and as an avid fan it is my humblest opinion that the more the better! Jackson is a director who, when it comes to STORY, does not sacrifice quality for quantity. Was/is there a whole hell of a lot going on in The Hobbit films? Yes. Does any of it take away for the driving plot line? Debatable, but when you get down to it, the answer is no. Is Peter Jackson a greedy little Dragon who is possibly suffering from James Cameron-Ka-Ching-Ka-Ching syndrome? Possibly. As an avid fan, if you present me with a Jackson quality product that remains almost unwaveringly faithful to it's source material while ADDING even more, I'm going to lap it up. The fact that Jackson can do so much while staying true to the book overshadows any doubts I had about the added material.
As a reviewer I see faults in The Hobbit series, An Unexpected Journey more than The Desolation of Smaug, yet as a fan I'm completely enraptured by them both. I tell you this, my dear readers, so you will know, there may be nit picking points accompanied by minor annoyances but in the end The Lord of the Rings/The Hobbit has been and will remain my favorite series of all time.
In my end of the year review for 2012 I named The Hobbit: An Unexpected Journey my favorite film of the year on the basis that I had been waiting for it for almost ten years...While this is true, the film was not without it's faults; primarily it's silly, prepubescent humor. The burp, butt and snot jokes were not only disgusting but completely misplaced in Jackson's directorial world. The Lord of the Rings films never lacked jokes and wisecracks, but it's humor never dealt on such a low, bodily level. The Desolation of Smaug regains any traction that might have been lost due to the low blows of An Unexpected Journey by keeping it's humor referential rather than immature, gross out stints. Martin Freeman is a funny actor and very funny in the role of Bilbo Baggins. His physicality and facial expressions lend themselves to the character brilliantly. The script is often quite humorous and I think produces may have read many of audiences reactions to the overall tone of An Unexpected Journey and for that reason darkened the mood of it's sequel.
The Desolation of Smaug is considerably darker than it's predecessor and rightly so. The first act is over, introductions are finished we know our main characters; we've seen them laugh now we want to see them fight! And fight they do. The Desolation is action packed from start to finish. The fast paced action scenes are engaging and exciting, verging on ridiculous but unimaginable fight scenes are a driving force behind the success of these films. I'm not paying to watch Tom Cruise shoot a gun at a criminal mastermind, I picked this film to see 12 Dwarves and a Hobbit race down a river in wine barrels while pursed by Orcs and high-flying Elves. It's fantasy and fantasy will lend itself to fanciful chases!
Lee Pace, Director Peter Jackson & Evangeline Lilly
Speaking of Elves, new comer Lee Pace, beloved from Bryan Fuller's short run and under-appreciated TV series Pushing Daisies, melds perfectly into the world of Elven royalty. He's come a long was from loveably awkward pie-maker. Devilishly wicked and totally unexpected, Pace plays the role of King Thrunduil with operatic bearing. Evangeline Lilly, also new to Middle Earth, was a missed opportunity. A fine actress, Lilly's character whom adds would have audiences believe is the strong, feisty, warrior woman of the series is reduced to an object of affection in possibly the oddest love triangle ever put on screen. I supported bringing in the new, original character of Tauriel thinking she'd be portrayed as a warrior like all the rest; instead she succumbs to the emotional advances of two men...brilliant. This from the director who gave us "I am no MAN", witch king-killing Éowyn. I don't get it.
Odd Elven relationships aside, the remaining story line in The Desolation of Smaug stays true to the book as well as any side stories begun in An Unexpected Journey. Audiences weren't left with so much a cliff hanging in the first of the series as something to look forward to, as all good films should. We knew we'd be seeing the great dragon in this installment and the tension leading to the final revel makes it all the more scintillating.
No words review can accurately describe the detail and deadly beauty in the animation of Smaug. It's brilliant, flawless, and any other adjective associated with top notch animation. Every scale and claw was considered...the lighting and coloring are pure perfection...the way he moves and please let's talk about the cutting voice behind though razor sharp teeth. Benedict Cumberbatch with the best and only choice. His voice is pure dangerous allure. Cumberbatch, with the help of visual animation studio WETA, truly became this dragon through motion capture technology. That means voice, movement, and facial expression were all generated by Caumberbatch...and quite perfectly, he gives this inhuman creature a personality and purpose. A huge hand must be given to the animators behind Smaug, he is a sight to behold on the big screen. No images found online can do him justice.
Benedict Cumberbatch gets in touch with his scaly, fire breathing side
Smaug's animation soars, leaving many of the other animated characters with a rushed, sloppy, even cheap feel to them. One thing The Lord of the Rings series did so well was create real, disturbing characters through the use of great prosthetics. This is a technique not used as appropriately in The Hobbit series, especially where Orcs, Goblins and other nasty folk are concerned...yes animation is cheaper but nothing draws an audience from the moment like recognizing "oh that's definitely CGI" This is a huge attributing fact as to why Smaug's animation is so incredibly impressive. Comparing the detail in his design to that of others is somewhat disappointing.
With a darker atmosphere, Jackson really plays up Biblo's developing obsession with his newly acquired ring and creating a strong tie between The Hobbit and The Lord of the Rings. The Desolation of Smaug is great fun with a couple of nice references for die hard fans and spectacular animation (for the most part) Fans will not be disappointed and new comers to the series should find it just as enjoyable. Don't expect Smaug to be popping up in any category except effects, during awards season like The Lord of the Rings films did, but the heart of this film is in the same place; as is its epic scope and action packed adventure. If there was ever a time to jump into one of the most celebrated fantasy series of all time, now would be it!
