Julia Roberts

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

August: Osage County

The family unit is a societal and cultural structure ingrained in most of our lives.  Every family has its quirks, and every family deals with both tragedy and triumph.  Families endure everything from illness and death to incarceration and addiction.  It’s the love and the loss that makes the world go ‘round, and no family is immune from heartache or difficulty.  Moreover, there are common threads found in every family, regardless of class or culture.

For example, even though we love our mothers to death, most people can agree that there are times when you simply want to say,  “Shut up Ma!”  You’d never say it, but mothers have a knack for speaking their minds unabashedly – much to the chagrin of their children.  But we can’t choose our family, and most of us love our relatives for better or worse.  In August: Osage County, director John Wells (The Company Men) explores familial themes through the relationships and trials of the Weston family, a dysfunctional Midwestern clan.

Beverly (Sam Shepard, Mud) and Violet Weston (Meryl Streep, The Iron Lady) are parents to three adult children, though the family unit hasn’t been intact since the girls came of age.  Beverly is a functioning alcoholic, and Violet is a pill-addicted shrew.  She is suffering with Cancer, but her sharp tongue tempers any sympathy.  The eldest daughters Barbara (Julia Roberts, Mirror Mirror) and Karen (Juliette Lewis, Due Date) moved away and haven’t looked back, while youngest daughter Ivy (Julianne Nicholson) remained behind as caretaker.  The opening scene is jarring, with Streep diving headfirst into the role.  It’s so bad it’s good – her character is suffering and it’s uncomfortable to watch, but Streep’s performances always seem like a master class.

When a shocking tragedy reunites everyone, curious family dynamics are revealed.  There’s sibling rivalry, buried secrets, infidelity, sexual taboos – you name it.  It might sound salacious and melodramatic, but realism permeated the film.  The characters’ problems were real, not contrived.  I could relate to the daughters’ frustrations as their mother offered well intentioned but unsolicited advice that went far beyond the pale.

I’ve been making the effort to see most of the Oscar nominees, and August: Osage County has two nominations for Best Actress (Streep) and Best Supporting Actress (Roberts).  The veterans didn’t mail it in here, and I’m sure they are in strong contention in their respective categories.  The entire cast delivered, with Benedict Cumberbatch (The Fifth Estate) and Margo Martindale turning in surprisingly honest performances.  This is the type of movie that doesn’t rely on gimmicks, but strength of script and the dramatic talents of a laudable cast.  I was most struck by the film’s sense of truthfulness.  I almost felt like a fly on the wall, and the realism underscored the film’s effectiveness.  My only minor complaint is that the setting felt static, with most of the movie happening in one environment.  But I’m nitpicking.  Bottom line: an understated but memorable film with strong performances from seasoned veterans and supporting cast alike.  Grade: B+

Snow White & The Huntsman

You have probably noticed as I have, that occasionally Hollywood releases the same types of movies at the same time.  For example, in 2010 there was Knight & Day and Killers, two very similar movies released within a month of each other.   There are other examples, but the most recent would be earlier this season when both Disney’s Mirror Mirror (starring Julia Roberts) and Universal’s Snow White & The Huntsman were released.  The former looked like children’s fare, while the latter appeared to put a different, darker twist on the classic fairy tale.  I was also drawn in by the cast, which included blonde beauties Chris Hemsworth (The Avengers) and Charlize Theron (Hancock).

Theron stars as Ravenna, the evil queen that we’re all familiar with.  In the movie she is both beautiful and cunning, a narcissist who will stop at nothing to maintain her beauty.  Kristen Stewart (Twilight) is Snow White, princess of a thriving kingdom.  When she is just a young girl her mother dies, leaving Snow White and her father behind.  Distraught and vulnerable after his immense loss, the King falls prey to the to the beauty of a prisoner his men encounter on a sojourn in the woods.  He marries the beguiling dame, thus making her queen of his kingdom.  The honeymoon is over almost instantly, and the new queen reveals her true motives.  She murders the king, drawing youth and beauty from the taking of another life.  She banishes Snow White, imprisoning her within the castle walls.  Everyone thinks she is dead, and years go by.  The once thriving kingdom has grown black and joyless.  Every day the Queen asks her “mirror” who is the most beautiful woman in the kingdom.  One day it tells her that another has emerged who is more beautiful.  It is Snow White, and her life is in danger.  She has supplanted her nemesis, a woman who views beauty as power and will stop at nothing to keep it.  Each life taken by the Queen restores and freshens her beauty and youth, ensuring that she is the fairest in the land.  Her mother instilled in her at a young age the importance of her beauty, and now there is a sort of supernatural force enabling her.  Snow White gets wind of the Queen’s plans for her and escapes into the Enchanted Forest.  Unable to retrieve her, the Queen enlists the help of the Huntsman, played by Chris Hemsworth.  This guy might end up being typecast as the big brawny hero in all of his movies, because other than Thor I don’t know what else he can do.  Oh well, there’s nothing wrong with using your physical attributes in character portrayals. If he’s capable of greater thespian feats, I’m sure we’ll see it eventually.  Dispatched by the Queen to capture Snow White, The Huntsman intends to follow her orders but changes his mind when he meets Snow White and has cause to question the Queen’s motives.  He ends up protecting her, and they navigate the Enchanted Forest together, along with the dwarves they have befriended.  The longer Snow White lives, the weaker the Queen becomes – because Snow White threatens her beauty and thereby her vitality.  The Queen’s true age is beginning to show and she will stop at nothing to remain eternally beautiful.

That’s the basic plot of the movie, which for the most part was very good.  I’ll admit that my eyelids got heavy at one point, but I attribute that to the warm weather and a momentary lull in the action.  Snow White and The Huntsman spent a lot of inconsequential time in the woods, and it was at that point that I nodded off briefly.  I enjoyed the movie, because I appreciated the more independent, warrior-like dimension they added to the classic character.  Snow White was not a helpless damsel in distress; she was a princess who fought for her kingdom fearlessly.  The Queen was a more complex villain, and Charlize Theron is so beautiful that her natural attributes lent themselves perfectly to the storyline.   Was it the best movie of the season?  Of course not, but Snow White & The Huntsman made for an enjoyable day at the movies. Grade: B+


 


This Means War

I’m proud to be an American, but the quickest way to turn me off from something is to dub it “America’s fill-in-the-blank.”  For example, “America’s Team” would be the Dallas Cowboys.  Or maybe the New England Patriots.  Either way – I ain’t with it.  Similarly, we’re fond of calling people “America’s Sweetheart.”  I’m not a fan of the expression or what it represents.  Take “America’s Sweetheart,” Julia Roberts.  I’m over her; she doesn’t get a pass for mediocre movies or that obnoxious toothy laugh.  However, there is one notable exception to my disdain for all things patriotic.  Reese Witherspoon – one of America’s Sweethearts who doesn’t annoy me.  Plus she played Tracy Flick in Election, so she can’t be that much of a goody two shoes.  Check that one out on DVD if you haven’t seen it, especially if you’re a fan of black comedy.

I was curious about her latest movie, an entrant into the relatively unique action rom-com genre.  If you don’t know what an action romantic comedy is, think Mr. & Mrs. Smith.   I digress.  Witherspoon (Water for Elephants) stars alongside Chris Pine (Unstoppable) and Tom Hardy (Warrior) in This Means War, a spy vs. spy movie that ended up being pretty entertaining.  Best friends Tuck and FDR are CIA agents who discover that they are casually dating the same woman; a cute thirty-something named Lauren who is none the wiser.  Being the competitive chaps that they are, Tuck and FDR refuse to back off and defer to each other.  They lay down some ground rules, and the game is on.   As secret agents they bring all of their espionage talents to bear, complete with high-tech gadgetry.  Unbeknownst to their boss (played by the wonderful Angela Bassett), they use Agency resources to take cock blocking to unprecedented levels, complete with surveillance and wiretaps.  Lauren genuinely is interested in both guys for different reasons.  Tuck is nice, humble and sweet, while FDR is brash and cocky.  Advising Lauren every step of the way is her sister Trish, played by the hilarious Chelsea Handler in her big screen debut.

Witherspoon’s character was relatable and endearing.  Lauren needed to be capable of making two guys battle each other tooth and nail for a shot with her.  Considering that most men hate to lose, it wasn’t a far-fetched idea.  Tom Hardy continues to impress me with the wide range of roles he accepts.  He’s quite versatile, capable of being both a romantic leading man and a diabolical villain (check him out in the upcoming The Dark Knight Rises).  Chris Pine doesn’t really do it for me, but I understood his character’s appeal.  Everyone had good chemistry with each other, both comedic and romantic (not the two guys, obviously).  The movie doesn’t sacrifice Tuck and FDR’s friendship either, supporting the old adage of bros before garden tools.  To sum it up, this was a great date movie.  It has a little something for men and women alike.  Grade: B