John Goodman

Atomic Blonde

Wonder Woman created a considerable buzz, becoming the highest grossing female-directed movie of all time. I started thinking about women’s role in film, and how I’m partial to movies that feature ass-kicking women. I probably enjoy movies like Kill Bill and Atomic Blonde because they are a novelty, still. It’s somewhat atypical for a woman to carry an action film, and perhaps that should change. In Atomic Blonde, Charlize Theron (The Huntsman: Winter’s War) brawls her way through the streets of Berlin, leaving bloodied foes in her wake and proving every bit as capable as her male counterparts. Although Theron was impressive in the role (she did her own stunts), Atomic Blonde had more style than substance, and it was not as original as some critics would have you believe.

Charlize Theron stars as Lorraine Broughton, an MI6 officer tasked with traveling to Berlin to investigate the death of another spy. The comrade in question was in possession of a covert list of spies and double agents. Set in 1989, the movie takes place in the waning days of The Cold War. Upon arriving in Berlin, Lorraine is met by David Percival (James McAvoy, Split), her handler and point person. He’s a wild card, his unconventional appearance fitting perfectly with the rebellious, revolutionary spirit of the city. Lorraine is stoic, dispassionate and efficient, traits that serve her well in her profession. She brings those considerable skills to bear in pursuit of an asset called Spyglass (Eddie Marsan, Ray Donovan), an informant privy to the list’s contents.

As the movie progresses, Lorraine dispatches adversaries with an impressive ferocity. She takes her fair share of lumps too, one stairwell scene particularly brutal. I tip my hat to Theron, who immersed herself in the role by training relentlessly in preparation and performing her own stunts. The film’s strengths were its action, cinematography, and score. Visually, it was washed out and monochromatic, with intermittent pops of neon color that gave it a sleek, oddly modern look. When Lorraine seduces French agent Delphine Lasalle (Sofia Boutella, Kingsman: The Secret Service), the screen is awash in hot pink. When she soaks in an ice bath after a day of beatings, the screen is nearly devoid of color, save for cool blue undertones. I appreciated these visual elements, along with the pulsating New Age soundtrack.

I’ve praised Theron for her commitment to the role, but her performance felt muted. Perhaps that was intentional; maybe she was just supposed to be a detached spy, but I thought her character felt walled off emotionally. Theron is talented and I know she’s got the chops, so I attribute this to some failing of the script, which was unoriginal and confusing. Moreover, the whole ‘missing list of covert operatives’ storyline was hackneyed and silly. The cast is esteemed, including John Goodman (Kong: Skull Island), the aforementioned McAvoy, and Toby Jones (Captain America: The Winter Soldier), but they can’t save the source material.

In sum, if you’re big on plot and details, you may not care for Atomic Blonde. However, if you’re game for some entertaining summer fare, I think you’ll be pleased. Theron has enough star power to reel you in, and the film was sexy and arresting, visually. It just wasn’t smart. Some critics are treating Atomic Blonde as the first movie to portray a “female James Bond,” and that’s simply inaccurate. Films like the relatively recent Salt, Point of No Return, and its iconic predecessor La Femme Nikita all come to mind as other examples, with two of these three being vastly superior to Theron’s latest offering.

Grade: B+

The Gambler

I wouldn’t necessarily list Mark Wahlberg among my favorite actors, yet I find myself enjoying many of his movies. He’s capable of turning in really good performances – whether it’s Lone Survivor or The Fighter. On the other hand, he’s also good for the occasional dud (see Broken City), though not for lack of effort or talent. When I got wind of The Gambler, I thought it might have been a stylish crime movie something like Rounders meets The Drop. The film could have been an effective character study and examination of addiction – but instead it fell flat, leaving me bored and disappointed.

The Gambler is a remake of a 1974 movie of the same name starring James Caan. The newer version keeps the same basic plot, with Wahlberg starring as English professor Jim Bennett, a man with a profound gambling addiction. We’re introduced to his weakening vice immediately, as he impulsively wagers and loses large sums of money on blackjack and roulette in a backdoor casino. He is not a man who will ever quit while he is ahead. Despite his penchant for reckless living, Jim seems to be doing ok for himself. However, every addict faces rock bottom at some point, and it’s only a matter of time before his lifestyle catches up to him.

While gambling at the aforementioned casino, Jim becomes indebted to its owner after losing big and adding to an existing debt. He borrows more money from a loan shark named Baraka (Michael K. Williams, Kill the Messenger), and soon he owes money to at least two people who are threatening to wipe him out in about a week’s time if he doesn’t pay up. Baraka challenges Jim’s moral code when he wants him to involve one of his students in paying the debt. Complicating matters is the strange dynamic he shares with another one of his students, who moonlights as a waitress at the casino. Their relationship is never fully explored, and the subplot remained undeveloped.

The plot was straightforward, and I appreciated its simplicity. However, the movie could have been much more entertaining. As a viewer, I never connected with Wahlberg’s character, even though his dire circumstances lent themselves to empathy. His performance was capable, but something about it felt too restrained. Where was the abject desperation? I never felt sorry for him, despite his obvious pathetic state. One could see that his addiction was crippling and that he was powerless to stop it, but that was the only aspect of the movie that resonated with me. I could see that he was desperate, but he never made me believe it.

The performances were fine, with some notable supporting turns from Jessica Lange (The Vow) as Jim’s wealthy, enabling mother and John Goodman (The Monuments Men) as yet another loan shark with whom Jim makes a high stakes side-bet. But once again, the movie never really went anywhere. Despite a lot of tough talk, the threats from his bookies felt hollow, and I only mildly cared whether or not Jim escaped with his life. The gambling scenes were taut with anticipation, but those moments were sparse.

In sum, The Gambler just didn’t leave much of an impact. The potential for a great story was there, but the movie never seemed to go anywhere. It could have been an exhilarating ride as we watched a man descend into total desperation – but Jim just seemed like a rich brat who never really “got it.” I thought it was just average. Grade: C+

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.

The Internship

Movies make us laugh, they make us cry, and they make us angry. But every now and then a movie surprises us by inspiring an unexpected emotion. We expect to laugh at comedies, but occasionally one touches us in a special way. It may sound odd, but that’s exactly how I felt about The Internship, a comedy that was both hilarious and heart-warming.

Vince Vaughn (The Watch) and Owen Wilson (The Big Year) team up for the first time since 2005’s Wedding Crashers, starring as Billy and Nick, two best friends and salesmen whose time has passed. When they attempt to close a big account, they learn they their company is folding. Their boss (John Goodman, Flight) tells them that they have been rendered obsolete in a changing work environment. Faced with the limitations of their age, Billy and Nick are left reeling at the prospect of unemployment.

Nick thinks he’ll be stuck selling mattresses for his sister’s boyfriend (Will Ferrell, The Campaign) until Billy comes up with the idea for their next gig. How often do you Google something? It’s second nature for me, as it is for many people. While Googling job possibilities, Billy found himself staring at the computer screen until it hits him. Why not work at Google? After fudging a few details on their resumes, Billy lands the pair an interview. Their lack of traditional IT knowledge is painfully obvious, but the two manage to impress the hiring panel with their unconventional approach.

After beating the odds and landing the internship, the guys arrive in Silicon Valley. Google’s campus looks like an adult theme park, and the employees are positively delighted to be working there. Quirky inventions abound, and it looks like the place where creative ideas are birthed. Billy and Nick are out of their depth, surrounded by college students with high IQs and low social skills. The interns are divided into teams, and only one team will be announced as winner at the program’s conclusion. Cementing their ‘reject’ status, Billy and Nick are left with the other undesirables to form a team comprised of the leftovers who weren’t chosen.

Despite their shortcomings, Billy and Nick are natural leaders and bring a sense of realness to their privileged, awkward teammates. Neha (Tiya Sircar) is surprisingly sassy and outgoing, Yo-Yo is tightly wound thanks to a domineering mother, and Stuart keeps his eyes glued to a smartphone. Their fearless leader is Lyle, a baby-faced twenty-something whose faux ‘cool guy’ posturing makes him about as hot as a pair of footie pajamas. The teams must compete in a series of challenges, from creating an app to manning phones in Google’s call center. In addition to impressing the bosses, the team has to contend with Graham (Max Minghella, The Ides of March), a pretentious douchebag and rival intern. Every movie needs a villain, and Graham is the fly in the ointment. Can Billy and Nick rise to the top amidst younger, stiffer competition, or are they severely out of their league?

The Internship was a very enjoyable movie, because it was a story most of us can relate to. Anyone who’s ever felt stuck in the “rat-race” of life or been unhappy at a BS job will understand Billy and Nick’s frustration. The movie was funny throughout, and the cameo appearances (Ferrell and Goodman) were well timed and didn’t feel forced. Besides the laughs there were tender moments as well, particularly as Vince Vaughn’s character played concerned big brother and bonded with the younger interns. I didn’t expect any heart-warming moments, but surprisingly it all blended perfectly. The corporate sponsorship of the movie is obvious, but that was unavoidable given the plot. June looks to be a funny month at the box office, and The Internship is a nice way to get things started. Grade: A.