Silver Linings Playbook

Red Sparrow

No actor is immune from making a bad movie; even some of the best have been guilty. However, a string of bad films might be cause for concern in an industry where the latest “It” girl can change from one year to the next. I don’t think Jennifer Lawrence (Mother!) has anything to worry about, as she’s been the toast of Tinseltown for a few years now, a bonafide megastar. But Red Sparrow marks her second consecutive disappointing feature (last year’s Mother! was an esoteric mess), and now I know that her presence alone doesn’t necessarily elevate a bad movie.

Red Sparrow intrigued with me its premise, the story of a Russian ballerina who becomes a spy. That’s all I gleaned from the trailer, and I imagined Black Swan meets La Femme Nikita or something. Lawrence stars as Dominika Egorovo, a ballerina with a promising career but meager finances and an ailing mother.  When she suffers a catastrophic injury on stage, she is presented with an opportunity to become a “sparrow,” a covert operative deployed by the Russian government in matters of espionage. Her training commences, and Dominika is subjected to a series of tasks and rituals designed to break her psychologically and emotionally. The film’s first act was its best, and I found it fascinating to witness their methods of training and subjugation. Veteran actor Charlotte Rampling (Assassin’s Creed) is featured as the “Matron,” subjecting the recruits to such humiliation as public nudity and intercourse.

As the film shifted into its second and third acts, the plot veered to and fro, with nothing but Jennifer Lawrence and some nice visuals holding the movie together. Director Francis Lawrence (The Hunger Games: Catching Fire) has shown from his music video beginnings a deft ability to capture stunning visual imagery of his subjects and their environments, and the film’s cinematography was one of its few bright spots. About midway through, Joel Edgerton (Bright) appears as an American spy to whom Dominika is assigned. He attempts to turn her and recruit her as a double agent, and it was all downhill from there. I can’t tell you much else about the film, because at that point I simply didn’t know what was happening anymore.

Jennifer Lawrence is a really good actress. American Hustle, Silver Linings Playbook and Winter’s Bone all prove it. I’m not sure if Red Sparrow seemed like a good script when she initially read it, but I found writer Justin Haythe’s screenplay muddled, meandering, and confusing. Perhaps the source material was richer, but its interpretation left much to be desired. Jennifer Lawrence is better than this? Scenes that were intended as provocative and edgy came across as lurid and trashy instead. I can appreciate the alluring surface qualities, Lawrence’s beauty and the rich decadence of the environment, but that’s where my praise ends. Wait until this one makes its way to HBO.

Grade: C

American Sniper

I don’t have the highest opinion of Clint Eastwood (Trouble With the Curve) when it comes to his political leanings, but I cannot deny that his legendary status in Hollywood was cemented long ago. His illustrious body of work includes seminal roles in some of the most iconic films in modern American cinema, but in the second half of his career he has proven to be even more skilled behind the camera, giving us a horde of Academy Award winning films from Million Dollar Baby to Mystic River. In American Sniper he paints a harrowing picture of the devastating effects of war, offering an unflinching glimpse into one man’s heroic service.

Bradley Cooper (American Hustle) gives a tour-de-force performance as Chris Kyle, the deadliest sniper in American military history. Like fellow S.E.A.L. Marcus Luttrell (portrayed by Mark Wahlberg in last year’s Lone Survivor) Kyle’s exploits have become the stuff of lore, and both have been subsequently immortalized in film. We are introduced to Kyle as a typical salt of the earth Texan. Spurred to enlist after 9/11, Kyle undergoes grueling boot camp preparation before being deployed to Iraq for the first of four tours.

Two of the most heart-stopping scenes in the film perfectly captured the split second judgment calls he had to make as a sniper. In the first, a mother and son are alternately carrying a missile, and he is forced to eliminate them both. The boy couldn’t have been older than 8, and Kyle took his life with little hesitation. The other scene also involved a child and a weapon, but this time the outcome was different. One is left with the startling realization that Kyle could accept either scenario with no compunction. Kyle was fearless and resolute in battle, but like many soldiers, he found stateside re-acclimation challenging. His relationship with his wife Taya (Sienna Miller, Foxcatcher) was strained because he was often absent, leaving her to raise their two children alone. Taya felt that he’d prefer the company of his comrades to his own family, a notion that Kyle did little to dispel – particularly after returning for a third and fourth tour of duty.

I realize that whether or not you lionize or demonize a particular sniper probably depends on what side he’s fighting for. As the title indicates, American Sniper is heavy on American notions of valor and patriotism. I personally don’t buy into the “rah rah America” narrative, and I choose to evaluate the film on its cinematic merits rather than the propaganda it pushes. That aside, I never questioned Kyle’s belief in the task before him, and I commend him for his unwavering service. Some have expressed an opinion that snipers are cowards, but Chris Kyle didn’t just hide behind his rifle – he got his hands dirty too.

Cooper has easily given the performance of his career, equaling his Oscar nominated turn in Silver Linings Playbook, and surpassing his work in American Hustle. He’s shown flashes of greatness throughout his career and has outdone himself here. His physical and emotional transformation was amazing, and he completely embodied Chris Kyle, from the brawny physique to the Texas drawl. His character’s emotions hurtled from one extreme to the next, and Cooper was pitch perfect throughout. His character’s post-traumatic stress was authentic, and we watched him grasp at normalcy upon his return. This type of film can easily become overrated, due to its subject matter. I think it’s a movie people will want to like, but notions of patriotism aside – I thought it was a well-crafted film that relies heavily on its star, whose presence was undeniable. I think 2015 is off to a good start in film. Grade: A-

American Hustle

For me there’s nothing like that familiar buzz of excitement I feel when I’m anticipating a new movie.  I eagerly awaited American Hustle because crime dramas are among my favorites, and I looked forward to the reunion of Oscar nominee David O. Russell (Silver Linings Playbook) and charismatic lead actors Bradley Cooper (The Place Beyond the Pines) and Jennifer Lawrence (The Hunger Games: Catching Fire).  Amy Adams (Man of Steel), Christian Bale (The Dark Knight Rises), and Jeremy Renner (Hansel & Gretel: Witch Hunters) rounded out the talented cast, making for a promising lineup.  Awards season is upon us, and you’ll hear lofty praise for American Hustle in the coming weeks and months.  While it’s not the instant classic I thought it might be, I found its performances to be nearly flawless – and it’s one of the better movies I’ve seen this year.

The film takes place in 1978, and much like my fascination with Argo I have a personal interest in a depiction of the time period around which I was born.  The film centers on the relationship between three people: a con-artist couple and the federal agent with whom they cut a deal to avoid jail time.  Irving and Sydney (Bale and Adams) have a passionate, tumultuous relationship based on a shared, volatile chemistry essential to their grifter lifestyle.  There is genuine affection between the two, but the dynamic of their relationship is inherently complicated.  Irving is mired in a loveless marriage to Rosalyn (Lawrence), an immature, impetuous woman from whom he cannot extricate himself.  Despite their apparent unhappiness, they have a lasting connection that isn’t easily broken.

Irving’s loyalty to Rosalyn and her young son preclude him from making a clean break in favor of Sydney, and this drives a wedge between the pair despite their uncanny success at separating fools from their money.  After being caught mid-hustle by FBI agent Richie DiMaso (Cooper), Sydney and Irving are given little choice other than to cooperate with authorities by bringing in some proverbial bigger fish.  Richie is ambitious and wants to make a big splash with a significant bust; he’ll do anything to break up a major criminal enterprise.   His “cowboy” attitude jeopardizes Irving and Sydney, as they’re the ones who must do the double-crossing of any prospective mark.  As their relationship woes increase, Sydney grows less enamored with Irving and more willing to exact a measure of revenge with Richie, who is all-too compliant.  Whose side is she on, and are two well-oiled hustlers really ready to drop a dime?

David O. Russell delivers once again, always able to elicit the best performances from Cooper and Lawrence.  Cooper is starting to bring a characteristic realism to his roles, and there was a manic, visceral quality about his performance.  Bale turned in another transformative performance as the well-intentioned Irving.  His character could have easily been a sleazebag, but Bale made him a sympathetic figure for which viewers could feel compassion.  Lawrence made her supporting role a layered and textured one, conveying subtle depth beyond first blush.  Russell’s storytelling was superb, and I appreciated the briefly non-linear way he began the film.  The performances were buttressed by authentic cinematography and costuming, which masterfully captured the era.  The movie seemed to get a little stodgy about halfway through, but I thought it rebounded well in its final act.  Definitely worth checking out.  Grade: B+

The Hunger Games: Catching Fire

I’m reluctant to admit when some of my favorite actors or actresses fail to deliver.  This time, it’s the flavor du jour, Jennifer Lawrence (Silver Linings Playbook).  I adore her as much as everyone else does, don’t get me wrong.  Her unassuming demeanor and down-to-earth personality make her a breath of fresh air in Hollywood, not to mention her undeniable talent. That being said, her presence wasn’t enough to elevate The Hunger Games: Catching Fire to my lofty expectations.

When we last saw Katniss Everdeen, she had emerged victorious from The Hunger Games alongside Peeta Mellark (Josh Hutcherson, The Kids Are All Right).  Both temporarily left their lives in District 12 behind as they fought to survive in a Darwinian cage match.  Pulling the strings was President Snow (Donald Sutherland, Horrible Bosses), a subtly nefarious plutocrat who kept the majority of the citizenry under his thumb after a failed uprising.  When Peeta and Katniss return home to District 12 things are bleaker than ever, as people scramble for essential resources.  President Snow wanted to use the Hunger Games as a twisted tool of both oppression and inspiration, as participation is involuntary, yet contestants are expected to fight proudly on behalf of their district.

Snow recognizes Katniss’ influence, and feels threatened by its implications for his own stranglehold on the populace.  He doesn’t want another uprising and must smite Katniss’ influence before she galvanizes the people.  He mandates that the next Hunger Games will be comprised solely of past champions. Talk about the odds not being in your favor.  Once again Peeta and Katniss must battle to the death, only this time their competition is infinitely more formidable.  Katniss’ team of Haymitch (Woody Harrelson, Now You See Me), Cinna (Lenny Kravitz, Lee Daniels’ The Butler), and Effie (Elizabeth Banks, Movie 43) try their best to prepare she and Peeta for the challenges that lay ahead, though Katniss is overly protective of Peeta, perhaps feeling guilty for not completely returning his feelings.  They must form new alliances if they want to survive; yet Katniss senses that the stakes are even higher this time.

I haven’t read the books on which the movies are based, and perhaps that explains some of my opinions regarding this sequel.  I was very intrigued by the concept of a “best of the best” Hunger Games, but the actual competition portion of the movie didn’t quite live up to my expectations.  I won’t elaborate too much, so as not to spoil it for you, but I don’t think the competitive dynamic between contestants was as exciting as it could’ve been.  I also thought the movie ended very abruptly and left me wanting more.  This was odd, considering the lengthy run time – but a friend explained to me that the book ends equally abruptly.  Oh.

Finally, we come to Ms. Lawrence.  Save for one scene, I wasn’t that impressed with her performance.  She was beautiful and striking as Katniss, but the actual quality of her performance left me wanting more – and I know she’s capable of it because I’ve seen it.  I’ll give you a small example, and feel free to disagree.  If you’re supposed to be crying – I expect your face to be dampened with tears.  I think that’s a simple expectation, but it’s one that wasn’t met here.  I’m still in the tank for J-Law, but maybe she needs weightier material like Winter’s Bone to truly flourish.  I look for her turn in American Hustle to make me forget I ever faulted her abilities.  Final verdict?  The Hunger Games: Catching Fire was pretty good.  Not great.  Grade: B.

The Place Beyond the Pines

I adore Ryan Gosling.  I think his choices are shrewd and artful, and the camera loves him.  I can rattle off several of his movies that I think are truly superb, and now you can add one more to the list. In The Place Beyond the Pines, Gosling gives a stirring performance that permeates quietly before a shocking culmination.

The movie begins with an introduction to Luke Glanton (Gosling, Gangster Squad), a motorcycle stunt rider who performs in a traveling carnival.  Director Derek Cianfrance (Blue Valentine) immediately drew the audience in with a taut opening sequence, as Luke performs a dangerous three-man stunt in a steel cage without batting an eyelash.  We see immediately that he is a thrilling character, dangerous and effortlessly cool.  I was reminded of Gosling’s turn in Drive, which also began with a riveting introduction to the main character in his element.  Before he leaves for his next city, he is visited by Romina (Eva Mendes, The Other Guys), an old flame.  Ro wears a pained expression, and their interaction is cautious and awkward as he drives her home.  He tells Ro that he will be leaving town soon, but he later stops by spontaneously one last time before hitting the road.  Ro isn’t home, but her mother answers the door holding an infant, which turns out to be his son Jason.

Luke is upset that Ro didn’t tell him about his son, although he hadn’t kept in contact with her since his last visit.  He immediately feels a sense of responsibility and decides to stick around town, quitting the carnival.  He shifts gears and wants to be a provider, though he is totally unequipped and unprepared for fatherhood.  The fact that Ro is in a relationship with a new man (Mahershala Ali, House of Cards) and surrogate father to Jason only adds to Luke’s feelings of inadequacy and emasculation.  Soon he meets Robin, a friendly swindler who easily convinces him to knock off a bank for a quick, small score.  In a brazen daytime robbery, Luke rides his motorcycle up to the bank door and surprises unsuspecting tellers in a daring heist.  He makes his exit quickly, zipping through traffic at a harrowing clip to rendezvous with Robin.  These moments when Gosling (or his stunt double) weaved his way through traffic and the pine trees of the forest on his motorcycle were amazing.

Eventually Luke crosses paths with Avery Cross (Bradley Cooper, Silver Linings Playbook) an ambitious Schenectady cop who is privy to larger corruption within the department.  The movie shifts at the midway point, and we begin to see life through Avery’s eyes.  Despite the varied perspectives, the film never felt unfocused.  As we examine the aftermath of their interaction, a parallel storyline emerges, as Luke’s fate and that of his infant son become inextricably tied to Avery Cross, who also has a baby boy.  As the movie unfolds, a haunting context emerges, giving more resonance to Gosling’s character, even when he is not on screen.

From Blue Valentine to Drive, Gosling always strikes the right note and draws the viewer in to his characters’ emotions.  His portrayal was authentic, and I never doubted the performance.  There was a fateful air of sadness that hung over the movie, and Luke was a sympathetic character despite his criminal leanings.  Luke’s energy was palpable, and Gosling was magnetic in every scene.  The Place Beyond the Pines was a poignant, electrifying movie that explored the themes of fatherhood and manhood in a stirring and powerful way.  The camera loves Ryan Gosling, and you will too. Grade: A.