Winter’s Bone

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

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.

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