Limitless

Lucy

Last week I had the misfortune of seeing a movie that was every bit as bad as I suspected it would be. Lucy looked silly from the outset, but there was the slightest hint of something cool. Scar Jo kicking butt and taking names? I’m here for it, nonsensical plot be damned. Imagine my disappointment when I not only confirmed the absurdity of the story, but also realized that Lucy’s cool factor was nil.

Judging from the trailer and word of mouth, I expected Lucy to be like the 2011 film Limitless, starring Bradley Cooper. That movie featured Cooper as a lackluster writer who takes a mysterious pill that unlocks his hidden potential. Unfortunately, Lucy was not as clever. The plot was deficient from the start, opening with Johansson as the titular heroine who finds herself the unwitting participant of a botched drug deal. We are given no background or sufficient character introduction – things simply begin happening. Lucy is forced to be a mule, carrying a bag of some new age blue crystallized drug. When she accidentally ingests the drug, she undergoes an almost supernatural change.

The drug allows Lucy to access more brain capacity than the average human being. Supposedly, we only access 10% or less of our cerebral capability. I have no idea if this is true, but it sounded absurd to my ears. Morgan Freeman appears as a scientist who has conducted extensive research on the phenomenon. As the drug continues to course through Lucy’s veins, we witness her rapid evolution as she transforms in unimaginable ways. As her neurological abilities expand, she acquires new “power,” such as the ability to control matter. Here is where the movie really lost me and where comparisons to Limitless fall short. It’s one thing for Lucy to reach her full human potential, it’s quite another thing for her to have the ability to control other people.

Writer/director Luc Besson (3 Days to Kill) is a gifted auteur, having given us the likes of Leon: The Professional, but his creative efforts fell woefully short here. For example, there is one scene where Lucy takes on an entire corridor full of villains. She uses her abilities to suspend the men in midair, instead of fighting her way through the gauntlet. If she has these increased abilities, why not incorporate hand-to-hand combat and let the character make mincemeat out of her foes? We know Johansson is capable from her work in The Avengers. It was just a poor choice in storytelling, in my opinion. Science-fiction movies can still incorporate elements of plausibility, and I thought Lucy took the easy way out. Ultimately, the story was paper thin, with characters just emerging and retreating with no rhyme or reason. Cinematic devices were incorporated and then abandoned. As the movie entered its final act, it reached the height of stupidity.

There isn’t much left to say. I found very little worthwhile about this movie. I like Scarlett Johansson a lot, but what could she do with the material? It’s not her fault; it is what it is. Morgan Freeman’s sage, majestic intonations were similarly ineffective in elevating such drivel. This is the kind of movie you watch on Netflix or cable when you’re bored at home with nothing better to do. And even then, it won’t have your full attention. Grade: D

Silver Linings Playbook

Bradley Cooper burst on the scene in 2009’s The Hangover and has been pretty busy ever since. He went on to star alongside Robert De Niro in Limitless, which gave me the opportunity to witness him in a more dramatic role.  He continued to expand his more serious repertoire with last summer’s The Words, giving an authentic performance wrought with emotion.  I disagree with those I’ve heard question Cooper’s range and talents.  His latest Oscar-nominated feature may convince some that he has what it takes to stick around for a while, as he teams with talented director David O. Russell (The Fighter) for Silver Linings Playbook.

Cooper stars as Pat, a man trying to rebuild his life after an emotional betrayal sends him into a psychological tailspin.  His marriage is on the flimsiest ground, a fact that is apparent to everyone but Pat.  We are introduced to him on the day of his release from a mental health facility in Baltimore, where he was sentenced to a brief stint after the aforementioned wifely betrayal left another man in intensive care.  Cooper reunites with his Limitless co-star Robert De Niro in the movie, as the veteran actor stars alongside Jacki Weaver (The Five Year Engagement) as Pat’s parents Dolores and Pat Sr. They are loving towards Pat and his older brother Jake (Shea Whigham, Boardwalk Empire), though Pat’s recent troubles and attendant mental state have given them cause for concern.  During his hospitalization Pat was diagnosed as bipolar, which clarifies some of the turmoil he’s experienced in his life up to that point.  He learned some coping mechanisms while there, and he tries to apply his new positive philosophy to life by looking for the “silver lining” whenever possible.

Pat settles in back home in Philadelphia, reconnecting with friends.  He has dinner with his old buddy Ronnie (John Ortiz, Pride and Glory) and his overbearing wife Veronica (Julia Stiles, The Bourne Ultimatum), where he is reintroduced to her sister Tiffany (Jennifer Lawrence, X-Men: First Class).  She is detached yet alluring, her grip on mental stability just as tenuous as Pat’s.  As Pat lives in denial about the possibility of reconciliation with his estranged wife Nikki, Tiffany continues her recovery from sex addiction in the aftermath of her husband’s recent death.  At Tiffany’s insistence, the pair form a friendship that initially begins as a quid pro quo where she will deliver a message to Nikki (who has a restraining order against Pat) if Pat will be her dance partner in a local ballroom competition.

Cooper’s performance was honest, and his chemistry with Jennifer Lawrence was effortless.  They both gave unguarded, nuanced performances, as their characters struggled for acceptance and affirmation in one another.  Lawrence shows incredible versatility, proving that she can shine in virtually any role: from popcorn fare like X-Men or The Hunger Games to grim material like Winter’s Bone.  I can’t recall the last movie I’ve seen that had so many standout roles.  The film has been nominated for eight Academy Awards, a whopping four of which are in acting categories.  De Niro put on a brilliantly understated display that began with subtlety but ended with layered complexity, revealing where Cooper’s character may have inherited some of his idiosyncratic and manic behavior.  Every performance was noteworthy, including Chris Tucker’s (Rush Hour) turn as Pat’s quirky pal Danny.  I don’t usually get caught up in the Oscar buzz, but in this case the hype is justified.  Grade: A

The Words

I first noticed Bradley Cooper in The Hangover as the wisecracking but loyal Phil.  It wasn’t too long before Cooper got his chance at top billing, starring alongside Robert De Niro in last year’s Limitless.  He proved in that movie that he could be relatable and endearing, and I knew that I’d be seeing much more of him.  Similar to his role in Limitless, Cooper once again portrays a struggling writer in The Words, a very thoughtful movie from writer Brian Klugman in his directorial debut.

The first thing that struck me about The Words was its interesting and novel structure.  Inception introduced us to the concept of a dream within a dream, within another dream.  Perhaps Klugman was inspired by that format, because The Words featured the unconventional concept of a story within a story within another story.  The movie begins with a narrated look at an ostensibly successful, award-winning author, Rory Jansen (Cooper).  Jansen has penned a critically acclaimed work of fiction called “The Window Tears,” a book that took him from obscure writer to literary sensation.  Rory has an adoring wife Dora, ably portrayed by Zoe Saldana (Colombiana).  When we first meet them they are off to an awards banquet, of which Rory is the guest of honor.  They are a beautiful couple, young and glamorous.  Rory is at the pinnacle of his career on what should be one of the happiest nights of his life, but there is a self-deprecating hint of sadness in his eyes that belies his staggering accomplishments.  It turns out that Rory’s conscience won’t fully allow him to enjoy the spoils of success, because his gains were ill gotten.

Any aspiring writer can tell you that their existence is characterized by a constant battle between their ideal and actual selves.  Am I good enough?  Will I ever be?  These are the perennial questions that plague any artist who struggles with finding inspiration or handling rejection.  Before releasing “The Window Tears,” Rory was beset by doubt and frustration, as the rejection letters mounted.  But his life would be forever changed by his honeymoon in Paris.  While strolling around a Parisian backstreet, Rory and Dora happen upon an antique shop where Rory finds a charming old leather briefcase.  Weeks later he discovers an old manuscript in one of the briefcase pockets and begins to read.  It’s an enthralling tale, and Rory is pained to know that he’d never be capable of producing such a work of art.  Deeply frustrated by his own limitations, he lashes out at Dora.  She believes in him but is wounded by his apparent dissatisfaction with his life, of which she is a huge part.  He begins to transcribe the manuscript verbatim, living vicariously through its anonymous author.  The tale is one of love and loss, set against a post-war Parisian landscape.  At first Rory’s actions seem harmless, but that all changes when he comes home one day to find Dora in tears.  Fearing the worst, he implores her to tell him what’s wrong.  It turns out that she read the manuscript, naturally believing that Rory wrote it.  She’s deeply moved, more than she has ever been by anything he’s written.  She unwittingly sets the stage for an incredible act of cowardice, as Rory takes credit for the story.  Eventually he publishes the manuscript under his own name, calling it “The Window Tears.”

The Words was a unique, emotionally rich movie.  It featured a wonderfully unconventional, non-linear storytelling approach about which I am purposefully not elaborating.  The layered approach made the movie fresh and intriguing, although the concept faltered a bit in the movie’s final act.  Additionally, I would have preferred more concrete resolutions to certain plot points, but these were only minor detractions.  One of the more successful aspects of the movie was its cast, who sucked me into their worlds.  Bradley Cooper was both endearing and compelling as the morally conflicted writer.   His scenes with Zoe Saldana were rife with chemistry, and she was picture perfect as his doting, supportive wife.  Jeremy Irons was wonderful as the Old Man who confronts Rory for stealing his story of love and loss.  He explains in vivid detail the life that inspired such a wonderful tale, each memory a piercing indictment of Rory.  His character was resolute but broken, having been robbed of everything that Rory now enjoys: notoriety, happiness, and true love.  The Words probably won’t make a big splash in theaters, but I thought it was a touching and original drama well worth seeing.  Grade: B+

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

Man on a Ledge

Lots of factors play into my decision whether or not to see a particular movie.  Sometimes the story itself looks intriguing, like Limitless or the recent Chronicle.  Other times, it’s the director that draws me in.  I’ll go see an M. Night Shyamalan movie just off GP, because I’m a fan.  More often than not though, it’s the cast that attracts me.  I like Sam Worthington (Avatar, Clash of the Titans), so when I belatedly heard about Man on a Ledge, I didn’t need much convincing.

Worthington stars as Nick Cassidy, a former police officer wrongly convicted of stealing a priceless gem from Wall Street titan David Englander, played by a scary-looking Ed Harris (Appaloosa).  Englander framed Cassidy, who was disgraced after being sentenced to prison.  After being denied parole, Nick decides to take desperate action to clear his name.  I won’t reveal the elaborate ruse that takes place, but lets just say that he devises a plan to escape from prison and soon he’s a fugitive.  Everything that happens next is all part of a carefully designed plan to exonerate Nick while finding out which other cops on the force helped set him up with Englander.  He enlists the help of Officer Lydia Mercer, (Elizabeth Banks, The Next Three Days) who is called in to talk him off the ledge.  Ah, the ledge.  Why is Nick on the ledge, and how can that help him clear his name?  Well, if I told you all that I’d spoil the movie wouldn’t I?  While Nick is on the ledge he forms a cautious bond with Mercer.  A recent mistake in the course of duty has caused her to lose favor with her peers on the force, just as Nick did when he went to prison.  This bond proves useful, because when the you-know-what hits the fan, Mercer is Nick’s only ally.

I think a lot of people are reluctant to see this movie because it seems familiar, or one note.  It’s a little smarter than that though.  It was relatively suspenseful throughout, and certain elements of the movie made it a solid caper.  Worthington let his natural Australian accent creep in a few times, but other than that he gave an earnest performance as the unlikely villain turned hero.  Anthony Mackie (The Adjustment Bureau) and Edward Burns also make appearances.  I wasn’t blown away by any one particular performance, but this wasn’t that kind of movie.  It was more plot-driven than character-driven, though the cast was more than capable.  I enjoyed the way it all unfolded, and by the time it’s over we see that Nick had a very strategic plan in place, using his law enforcement experience to predict everyone else’s moves.  The movie even offers a slight commentary on society (or at least jaded New Yorkers) by showing the perverse fascination with which passersby watch Nick, rooting for him to jump.  Was this movie deep and twisty like The Usual Suspects or as clever as Inside Man?  Of course not, but sometimes a distant second is good enough.  You won’t be blown away, but you won’t be disappointed either.  Wow. I just read the previous sentence and that was a lukewarm endorsement LOL. I’ll put it in better terms: Grade B