George Clooney

Money Monster

There are many ways to tell a story, and one of the great things about film is that it offers the freedom to explore a range of narratives. A sweeping epic may unfold at a leisurely place over the course of two hours. A movie that takes place in a single day will be presumably action-packed and fast-paced, as there is little time for character or plot development. Money Monster promised a glimpse into a day in the life of two men on a particularly harrowing day for both.

George Clooney (Hail, Caesar!) stars as Lee Gates, a Jim Cramer type of character who mixes buffoonery with financial advice on his own cable show. I was amused to see the typically suave Clooney bounce around like a ham-handed carnival barker, flanked by two ‘dancers’ in costume like a bad rap video. Julia Roberts (Secret in Their Eyes) is Patty, his calm and cool producer who helms the ship, making it hum like a well-oiled machine. Gates has a duplicitous, opportunistic aura, sort of like a cross between a car salesman and a stockbroker, with more style than substance. When one of his tips to invest in a company called IBIS proves disastrous, disgruntled viewer Kyle Budwell (Jack O’Connell, Unbroken) exacts his own brand of justice by taking over the television studio during a live broadcast.

An unhinged protagonist is familiar cinematic territory, whether our anti-hero is robbing a bank or holding hostages. Common themes are desperation and a nearly suicidal level of commitment. Kyle is armed with a detonator and makes Lee wear a vest rigged with explosives. He blames the loss of his life savings on the TV host, whose offhand prediction cost him dearly. Dominic West (Genius, The Affair, The Wire) is featured as Walt Camby, IBIS’ shady CEO who claims an unforeseen glitch in his company’s financial algorithm caused the stock to take a hit. At first Kyle’s ire is directed solely at Lee, but Gates is able to pass the buck on to Camby, whose explanation for the massive loss is questionable at best.

Jodie Foster (Elysium) marks her return to directing here, and quite naturally I had high expectations for such an acclaimed collection of Hollywood’s elite. I won’t use the word disappointed, but Money Monster was more decent than memorable. I enjoyed the subplot involving supporting characters as they worked to uncover the truth behind Camby’s questionable geo-political business dealings, but for the most part the tension and tautness wasn’t there. Perhaps the fault lies in the script, as I thought Foster’s direction within the tight confines of the television studio was effective. The small space added to the air of desperation, but overall the film wasn’t something that stayed with me. Sometimes a day at the movies is just a passable one, and while that’s enough for some – others may want a little more. Grade: B

The Monuments Men

The intriguing thing about history is that there is always an untold story.  Against the backdrops of some of the most memorable historical events of our time lie fascinating subplots.  In times of war, for example – the prevailing story will understandably be one that focuses on human casualties.  The artistic or cultural loss of war may not be readily apparent, and most historical narratives don’t explore such considerations.  As a result, actor/director George Clooney (Gravity) found a unique opportunity to highlight a chapter of world history that was previously untold.

During World War II, Hitler instructed the Nazis to seize all works of art, including paintings, sculptures and other precious artifacts.  He supposedly had designs for a museum in his own honor and wanted to fill it with items he’d pilfered along the destructive path he carved through Europe.  In the event that Hitler was killed or captured, he instructed his troops to destroy the stolen art.  President Roosevelt recognized the value in preserving culture and authorized a commission to retrieve the items and return them to their rightful place.  Clooney stars as Lieutenant Frank Stokes, the man tasked with assembling the group that would be known as “The Monuments Men” for their willingness to sacrifice their own lives for the preservation of precious cultural monuments.

You might ask yourself, who cares about a painting when people are being killed? However, Stokes’ character conveys the purpose for The Monuments Men, answering the necessary question of whether or not a piece of art is worth a man’s life.  I’m paraphrasing the quote, but Stokes says that if you burn a man’s house down, he can come back.  But if you destroy his achievements and his history, it’s like he never existed.  That line struck me, and I think The Men’s sacrifice should be celebrated.

The commission is comprised of former military, all of whom have a unique knowledge of art either through study or creation.  Matt Damon (Elysium) co-stars as museum curator Lieutenant James Granger, while Bill Murray (Moonrise Kingdom) and John Goodman (Inside Llewyn Davis) are featured as Sergeants Richard Campbell and Walter Garfield, respectively.  The cast notably includes Cate Blanchett (The Hobbit: The Desolation of Smaug), Hugh Bonneville (Downton Abbey), and Jean Dujardin (The Wolf of Wall Street), with all of the characters filling unique roles that were integral to advancing the storyline.  At the helm both literally and artistically is Clooney, and the men he commands share his passion and commitment to the cause.

The Men contend with Nazi soldiers as well as resistance from Allied troops who don’t share their passion for art, at least not when weighed against the potential risk to American soldiers.  However, I never doubted the validity of their cause, and perhaps that is a testament to Clooney’s storytelling and direction, though I’d be remiss if I didn’t mention that the film is based on a book by authors Robert M. Edsel and Bret Witter.

The Monuments Men was a solid movie, and I found it well made and well acted.  However, it’s not the type of movie that drives foot traffic to the theater, though my show featured high attendance.  This is a quiet movie that you can see with your mom.  You’ll learn something, you’ll chuckle a few times, and you’ll probably be pleased overall.  But this is not the type of movie that will have you talking and telling your friends that they’ve “gotta see it.”  While it was enjoyable, I found myself ready for the credits to roll, despite some good performances and entertaining moments.  This is the kind of movie you’ll stumble across while flipping channels, and you’ll be glad that you did – but it was a bit too understated in its direction for me to give it a ringing endorsement.  Grade: B

This article first appeared at Poptimal and was reprinted with permission.

Gravity

There are some movies that you watch, and some movies that you experience.  Like Avatar before it – Gravity is a film that must be viewed in IMAX 3D to be truly appreciated as the filmmaker intended.  Here, Alfonso Cuaron (Children of Men) crafts a beautiful masterpiece, a stunning film that is nearly flawless.  On a personal note, there are two things that I find terrifying: the ocean and space.  I never want to be any place where I cannot breathe normally.  Space seems equally frightening and beautiful to me, and Cuaron captures that unique duality perfectly.

The movie takes place entirely in space, and the visual aspect of the film was nothing short of breathtaking. I’ve never seen a movie, science fiction or otherwise, feature such a stunning depiction of the planet and stars.  You have no choice but to be captivated, as there are no extraneous distractions on the screen.  There is just simplistic beauty; nature unlike anything you’ve ever witnessed.  The phenomenal backdrop is viewed from the perspective of Sandra Bullock (The Heat) and George Clooney (The Descendants) as Ryan Stone and Tom Kowalski.  The astronauts are on a routine space mission, when they find themselves in the midst of a harrowing ordeal.

I felt an uneasy sense of apprehension throughout, as I knew something was going to go wrong.  That’s attributable to having seen the trailer, but also because of the movie’s atmosphere.  There was such profound peace in the silence of space; I knew it would be disrupted.  While making a repair on a satellite (I think), Stone and Kowalski get word from Houston that the Russians have destroyed one of their own satellites, causing a field of debris.  Initially the blast particles would not have reached them, but a ricochet effect has placed them in harm’s way.  First we wait with baited breath for the interstellar onslaught, and then our collective hearts stop as pieces of debris come hurtling through space at our beleaguered pair.  I was so enraptured that I found myself dodging the debris too, as the 3D effects made me feel like the objects were coming right at me.

From top to bottom, this was a stellar film.  I’ve already described the breathtaking imagery, but the performances were equally impressive.  Bullock’s range is on full display, as Dr. Stone teeters along the precipice of disaster for most of the film.  She showed the full gamut of human emotion, as Stone was at times terrified, courageous, vulnerable, and at one point just decimated psychologically.  When characters are isolated in such a manner, the merits of the performance are allowed to shine through.  Bullock is the centerpiece of the film, and there is no doubt that viewers will be emotionally invested in such a human, nuanced character and performance.  Clooney gives an amazing performance as well, and he only gets more charming with age.  His presence is calm and soothing, a reassuring beacon in the abyss for Stone as she fights to survive.

This is a film that must be experienced, not just with the eyes, but with the entire being.  This is not a passive viewing experience; I was spellbound but fully engaged for the entire film.  Never have I felt that I was vicariously sharing the experiences of a character as I did while watching Gravity.  I’d be shocked if the film did not receive a slew of award nominations, particularly for cinematography.  The camera work was phenomenal and there were scenes rife with meaningful symbolism, particularly one where Bullock is filmed as if she’s in utero.  The weightlessness of space allowed Cuaron to experiment with perspective and imagery in brilliant fashion.  What more can I say?  A must-see film.  Grade: A.

The Ides of March

“Beware the ides of March…”  I’ve always liked the Shakespeare quote from Caesar, an ominous warning of betrayal.  It’s appropriate that the George Clooney (The American) directed Ides of March is named for the quote, as the movie is similarly characterized by the betrayal and cold ambition found in Shakespeare’s play.

Ryan Gosling (Drive), Philip Seymour Hoffman (currently in Moneyball), Marisa Tomei (The Lincoln Lawyer), and Paul Giamatti (most recently of The Hangover II) comprise a highly-acclaimed cast that is the best collection of actors I’ve seen in a while.  Clooney is Democratic governor Mike Morris, an ambitious contender for the White House, especially if he can win the Ohio primary that looms ahead.  An integral part of Morris’ campaign is his campaign manager and aide, Stephen Meyers (Gosling).  Meyers is a sharp young gun with political savvy beyond his years.  He is calculating and shrewd, and will tell you that he’s done more at his age than most of his older counterparts.  However, it is Meyers’ strong ego that leaves him susceptible to overtures from the opposition.  Morris’ opponent is a more seasoned Democrat, a representative of the status quo, while Morris (much like President Obama) has been anointed as the symbol of hope and change.   Stephen has truly bought into Morris’ image and thinks he is backing a winner.  As he tells another character, he is “drinking the kool-aid.”  The campaign is moving in the right direction until Stephen gets a call from Tom Duffy, campaign manager for Morris’ opponent.  Duffy tells Stephen that he’d like him to switch sides and that he should attach himself to a winner and look at the big picture.  Stephen ultimately declines, but let the whole thing linger on longer than it should have.  Instead of maintaining an impenetrable silence, he allowed for the possibility of uncertainty and cast Morris in a vulnerable light at a critical hour of the campaign.

While managing the campaign, Stephen crosses paths with a young volunteer named Molly (Evan Rachel Wood, True Blood) whose father happens to be the head of the Democratic National Convention.  They begin an intimate relationship that leads Stephen to discover that he and the governor share more than a similar ideology.  Meanwhile, Stephen tells Morris’ senior campaign manager Paul (Hoffman) about his exchange with Tom Duffy.  His admission is met with an impassioned diatribe on the virtue of loyalty, after which he is quickly dismissed from the campaign.  At first blush it seems that Stephen will be a victim of his own ego, but he still has an ace up his sleeve with Molly – who is carrying a secret that could derail the entire campaign.  It’s ironic that while Paul was reminding Stephen of the importance of loyalty, he had no idea that Stephen had been displaying great loyalty to the governor by cleaning his dirty laundry even while his own position within the campaign grew more and more tenuous.

After Stephen is fired he behaves vengefully and emotionally, almost validating the overture.  But you don’t get to where Stephen has gotten without having a fighter’s mentality.  He goes into survival mode and begins to play the game from within, angling to revive his role in the campaign and to leverage what info he has against the man he once believed in.

Ides of March was a pretty good political drama.  I’ve seen better, but it was a solid movie and an impressive directorial effort from Clooney.  I really feel that he captured the idealistic buzz that hums in a Democratic campaign, the enthusiasm and liberalism.  I chuckled at the Shepard Fairey-inspired prints modeled after Obama’s iconic ‘Hope’ poster, but otherwise I thought the campaign depiction was realistic.  Ryan Gosling continues to prove that he’s one of the best young actors around.  He is earnest and real in everything I’ve ever seen him in, and I am always endeared to his characters, whether he’s a criminal in Drive, a drug addict in Half Nelson, or a lovesick suitor in The Notebook.  Clooney was effective as the duplicitous Morris and of course it’s no difficult task for him to be the charming candidate.  The supporting cast was very good, and I should mention that Jeffrey Wright (Source Code, Cadillac Records) also made an appearance.  Another great actor in a pretty good movie.  I didn’t like the very last scene of the movie, but I enjoyed it overall. 8 out 10.

Drive

I see you Ryan Gosling.  And I am not mad at all.  2011 is shaping up to be quite the year for Gosling.  He was in the heartfelt Crazy, Stupid, Love earlier this year alongside Steve Carell.  Next month he will star with George Clooney in the political thriller The Ides of March.  But it’s his current feature Drive that’s got me so intrigued.  What a unique, cool movie.  It might not satisfy everyone’s cinematic tastebuds, but I thought it was so nice I had to see it twice.

I never heard of director Nicolas Winding Refn (what a name) before this movie, but the cinematography was amazing. L.A. was shot beautifully, the night sky slick, cool and foreboding while the daylight shots were warm and sun-drenched. Certain cities add a distinct feel to a movie, if filmed with a deft hand.  Drive reminded me of other dark tales woven in the City of Angels, like Collateral and Heat (both directed by Michael Mann).  Of course I’m not saying this guy is as good as Mann, but he made L.A. look cool and sexy. And isn’t it? Anyway, Drive is appropriately titled.  The movie opens with Gosling’s character pulling a job for some unknown boss. He is a getaway driver, a Wheel Man.  He’s not involved in the heist/murder/random illegal act that requires flight, but he is the man who will make sure you get away cleanly.  If you follow his guidelines.  There’s a five minute window. He won’t be armed and he won’t participate – but he’ll drive.  Once those 5 minutes are up – you’re on your own.  We’re introduced to Gosling as a methodical, deliberate, solitary figure. Clearly adept at his trade, he doesn’t say much and casts a mysterious shadow.  We learn that he’s managed to also make a legit career of his driving skills, as he is a stunt driver in movies.  If Our Driver’s professional life seems dangerous and exciting – his personal life is decidedly more tranquil.

Again, Gosling is a solitary figure.  He doesn’t have much in the way of companionship, other than his boss on the movie set, Shannon.  That changes when he befriends his neighbor Irene (Carey Mulligan, Wall Street: Money Never Sleeps) and her young son Benicio.  Irene sort of looks like Tinkerbell with her baby face, pixie haircut, and sweet disposition.  She and Gosling have a timid chemistry, and there are a lot of scenes where they just sort of stare at each other and blush quietly.  These scenes didn’t bother me, but I know some other viewers found it plodding.  Things get more interesting when Shannon approaches Gosling with the opportunity to race on a professional circuit, in a stock car.  By the way, I keep calling him Gosling because his name is never revealed. When the credits rolled he was listed simply as ‘Driver.’  Anyway, Shannon secured financial backing for the stock car from Bernie (Albert Brooks) and Nino (Ron Perlman, Hellboy), two underworld figures who probably have their hands in all kinds of chit.  Meanwhile, although Irene and Gosling have become fast friends and he is becoming a pseudo big brother/father figure for Benicio, she makes it clear early on that his father (her husband!), a dude named Standard, is in prison.  When she finds out that he’s getting released soon, we can only wonder what this will mean for her burgeoning relationship with Gosling.  Surprisingly, Standard just seems grateful that Gosling was a friend to Irene in his absence. He wants to atone for his misdeeds and just live a normal life with his family.  Unfortunately, it never works out that way, does it?  Some gangsters to whom he owes protection money want him to pull a job to satisfy his debt.  When he refuses, they beat him to a pulp and threaten to return for Irene and Benicio if he doesn’t comply.  It is here that our reluctant hero emerges.  Our Driver feels a kinship with Standard and a certain affinity for Irene and Benicio.  He agrees to be Standard’s Wheel Man for the job, on the condition that the job satisfies any remaining debt and that Irene and Benicio can live in peace.  That’s the plot for you, in a nutshell.

Drive had the emotional weight of a character study, but there wasn’t enough dialogue for me to call it that.  The entire movie felt stripped down, much like the main character. It was slick and atmospheric; thanks to the 80’s sounding score that permeated most of the movie and the way Gosling filled every frame he was in.  I don’t find him to be attractive in the most traditional sense, but my goodness the camera really loved him in this movie.  The word swag is dead, but I have to say that his was on a hundred, thousand, trillion in this movie.  His demeanor was even-keeled initially, with just the hint of rage lying beneath the surface.  He’s a criminal, but he’s only the getaway driver. Initially we have to wonder if this is an indication that he’s soft in some way, but those doubts are quickly put to rest as Gosling begins to stomp and thrash his way through the movie.  I thought the plot and script were interesting, though not entirely unique.  Very slick and stylized, with the violence of Tarantino minus all the dialogue. If you don’t mind letting your movies simmer a while before they come to a fantastic boil – this is one to see.