The Hangover

War Dogs

People often say that money is the root of all evil. False. The love of money is the root of all evil. I actually enjoy the tales of the wealthy, if for nothing more than the aspirational motivation I get from seeing a world I normally couldn’t witness. Whether it’s Wall Street or The Big Short, tales of the perils of wealth and excess fascinate me, and I love the story of a good “come up.” When I saw the trailer for War Dogs, which was inspired by true events, I was instantly hooked and wanted to learn how these upstarts cornered the market on international arms dealing.

Miles Teller (Fantastic Four) and Jonah Hill (Sausage Party) star as best friends David Packouz and Efraim Diveroli. The year is roughly 2006, and David is disenchanted with life. He can’t hold a steady job and is eking out a living as a masseuse. When he reconnects with Efraim, his old friend hasn’t changed a bit. He’s as obnoxious as ever, but seems to be doing well for himself. He started out buying seized illegal firearms from law enforcement and reselling them online. He’s moved on to small government contracts, selling weapons and ammunition to the U.S. government. One would think the world’s greatest military wouldn’t need to resort to buying small amounts of weaponry from individual gun purveyors, but blame the cronyism of the Bush Administration. Amidst allegations of nepotism against Dick Cheyney, Congress introduced legislation requiring the government to entertain offers from small companies. War is big business, and Efraim is cashing in.

He offers David a role in his company, and the pair embarks on a new course beset by dangerous greed. They attack the gun-running business with tenacious fervor, undeterred in the pursuit of lucrative government contracts. Efraim doesn’t mind playing fast and loose with the law if it keeps the money flowing, and David acquiesces. When trade legislation threatens a deal to export beretta handguns from Italy to the Middle East, the “war dogs” drive the guns through hostile territory themselves. Hill is superb as the brash, rotund Diveroli, delivering a performance reminiscent of his role in The Wolf of Wall Street. Efraim is the loveable asshole, and Hill infused his interpretation with quirks that made the character feel real.

Teller is serviceable as Packouz, though not as impressive as his co-star. I find his performances somewhat uneven, but his work in films such as Whiplash evinces great ability. Darker characters tend to be more nuanced and complex, and so Jonah Hill had more to work with, in many respects. His character’s duplicity allowed for a more layered performance, compared to Teller’s. Nevertheless, both actors had an abundance of chemistry and played to each other’s strengths. Director Todd Phillips (The Hangover) is a master at capturing the fraternal dynamic between friends, and that ability is on display here. You can’t help but root for David and Efraim, yet that feeling is tempered by the clear white male American privilege from which they both benefitted, all while nearly running afoul of the law. War Dogs was insightful and entertaining, due in large part to an entertaining, compelling story and an anchoring turn from Jonah Hill. Grade: A-

 

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.