Trailer Roundup: What Looks Good

Promised Land
Finally, something interesting from Krasinski. There's a great crowd in this little film (McDormand, Damon, DeWitt), and it looks like a lot of the places I've had to visit or drive through for work. 
Release Date: 1.4.13


Jack the Giant Killer
In case you didn't know, I love fairy tales retold. I'm loving ABC's Once Upon a Time, and this looks like it's going to be equally fun. Ewan McGregor is clearly awesome, but we'll see if Nicholas Hoult can deliver on his leading-man aspirations. 
Release Date: 3.1.13


The Great Gatsby
The Australian Vision of an American Classic? Not sure it falls under the heading of "What Looks Good," so much as it looks pretty. I'd definitely cast the men differently, but the ladies are lovely. Did I imagine that Daisy had long hair? Must consult the novel.
Release Date: 5.10.13

Star Trek Into Darkness
I want context for the voice-over narrative, but I'm definitely looking forward to JJ Abrams' second Star Trek film. 
Release date: 5.17.13


Now You See Me
This looks terribly fun! Magic is having a heyday again (in rebellion against the reality-tv trend, I imagine), and it's found its way into the heist genre. 
Release Date: 6.7.13


Man of Steel
Super excited for the latest Superman movie. It's got to be better than the last one, and I love the casting - at least Mr. and Mrs. Kent. 
Release date: 6.14.13

Gambit
I'm not the biggest fan of Cameron Diaz (okay, not a fan at all), but I want to see the showdown between Colin Firth and Alan Rickman, don't you? 
Release Date: Unknown

Les Miserables

I have loads of notes or snippets or phrases from reviews I've barely drafted, things I didn't care enough to actually compile thoughts about (though you may see something on them soon), but then came Christmas, and the gift that was Les Miserables. Since I've been having some trouble writing lately, this will probably be messy - and my thoughts are all over the place. As expected, I have a LOT of thoughts on this one. Let's start with a list.

Things from the book that are back:

Fantine selling her teeth

Valjean and Cosette taking shelter at a convent 

The elephant statue

Marius's grandfather

Marius's apartment

Cosette is vapid

Valjeans rooms are always sparse

Gavroche delivers the last note to Cosette's house

I like those things, but there are two problems with adding plot points back to the story: one, you must provide music for these sections, and two, something else must be lost. Most of the time, the loss of material is not noticed. The new material, however, stands out like Russell Crowe taking a leading role in a musical. In other words, remarkable in their mediocrity. Crowe's Javert is in no way an imposing figure, he seems to have no authority whatsoever, and absolutely no spine. Who is this man that Valjean is running from and moreover - why? Jackman's Valjean could easily take Javert. And I mean easily.

The biggest problem with the movie - I don't know who to blame. Since my sister works in film, I know there's more involved here than the cinematographer, or the director of photography, or the cameraperson, or the director - but something went horribly wrong. Almost the entire film is shot in closeup, which a) gets old fast, b) makes for some nauseating follow-work, and c) causes a loss of focus for the entire epic, which spans many years, several generations, a dozen or so characters, plots and subplots, regimes, cities - why on earth would you make such a decision, to bombard and overwhelm the audience with closeups? The closeups also make it difficult to absorb the carefully constructed setting and atmosphere (I think it rains for most of the film?), and if I was the set designer, possibly the costume designer too, I'd be pissed. None of the hard work, dedication, or attention to detail can be appreciated here, none of it contributes to the film as a whole. I have no idea what some of those sets were. Fantine 'by the docks?' Someone said, "Why make a movie of the greatest musical of all time?" and Tom Hooper said, "Well, because we can see their faces! Up close! Not from far away in the audience!" but I gotta tell ya, Tom, I saw Les Mis in the back row of the theater in the 8th grade and I would rather see it again onstage, from the very back row. Hint: when you make a movie, those faces are projected on a screen that's twenty feet tall. We'll see their damn faces, and they're going to be pretty. That's how this whole movie-thing works. There's no need to do an entire film in closeup.

That said...

Casting is roughly... 75-80% of good directing. If you've cast it right, the work is done for you. Let's talk about casting.

. Hugh Jackman (Jean Valjean)

Good as it's going to get in Hollywood. Not sure he's old enough. But at least he can sing and act at the same time, unlike some people...

. Russell Crowe (Javert)

LORD was that painful. Just... no. 

. Anne Hathaway (Fantine)

Very good, clearly the fullest and most grounded performer in the film. Don't buy her as Seyfried's mom, though.

. Helena Bonham Carter (Mme. Thenardier)

Perfect! Spot on! Really liked her! Which is more than I can say for most of her work - the only other film I liked her in was Hooper's Oscar winner, The King's Speech

. Sacha Baron Cohen (M. Thenardier)

Excellent - love the subordinate role he plays to Carter, it was an excellent choice, since Carter is clearly the favorite

. Amanda Seyfried (Cosette)

The good news is that there's not much to say for Cosette - ever. Seyfried sounds like a bird when she sings, which fits Cosette, who is referred to in the novel as a lark.

. Eddie Redmayne (Marius)

What a little English boy! Stop smiling, and get hold of your jaw when you sing. I've heard it's bad practice. Plus, in a film that's entirely closeup, it's annoying.

. Samantha Barks (Eponine)

Tiniest waist since Jane Powell (which is a reference that only my mother will get, probably). What's interesting about Barks is that she's played the role on stage, so she thoroughly gets it. I'd like to hear her input on having done both.

. Aaron Tveit (Enjolras)

My favorite (male character in the film)! Oh my goodness. How handsome, and what a singer. Tveit has been around the musical theatre circuit for a while now, and hopefully he'll stick around. If we get him enough lady-fans, maybe he'll get to play Jamie in The Last 5 Years opposite Anna Kendrick? Just a thought.

There were so many good ideas bouncing around the film, so many of them horribly underused because of the damn camerawork. I wonder if those who find perfection in the film are simply starved for a good story - something Victor Hugo spent his life crafting. I know I didn't spend that long crafting this commentary, but I couldn't go to bed without producing something. These are my thoughts.


Notes:
- Did my predictions come true? Reference my June commentary on the film's first theatrical trailer.
- The Bishop is played by Colm Wilkinson - the original Jean Valjean.
- One thing the film does (rather) well is to omit the somewhat problematic plot point of Jean Valjean's "24601" - the distinguishing "brand upon his skin" that is supposed to identify him. If the police have caught the man they believe to be Valjean, wouldn't they have looked for that? Did they find it? Am I missing something? It's not in the book - there's some other evidence - but if all you theater people have a better answer than 'suspension of disbelief,' please let me know.

Premium Rush

Don't get me wrong, I get a rush every time I see a Joseph Gordon Levitt film, but this one was supposed to be premium. Not sure about that.

Have you seen the trailer? Because that's pretty good insight to the movie. Hipster's dream - multicultural bike-race against the cops, starring the Hipster King himself. He could be a lawyer - but damn the man! - he's a bike messenger.

The whole movie is timestamped, but it really doesn't amp up the excitement. I would have been much more interested in seeing it play out in real time. Instead of finding out the backstory for each character in play, I want to see the through-line. Explain it to me later.

Whatever, we all know the entire purpose of the movie is to watch Joseph Gordon Levitt try desperately to do the right thing, from the seat of his bicycle. Oh, and to enjoy those ridiculously adorable dimples when he smiles.

The Raven

In The Raven, Edgar Allan Poe is going through a rough patch. He hasn't written any of his beloved fiction in a while, his girlfriend's father hates him, and he can't afford to get drunk. Then Poe is confronted by the police and informed that his girlfriend has been kidnapped by a serial killer, whose modus operandi is to replicate or reference the murders in Poe's famous stories. Poe must work with the intrepid young detective to uncover suspects and win back his intended.

It's not a new plot, though Poe is a fascinating figure to utilize it. The thing is, I saw this on Castle fairly recently, and they got it solved in one entertaining hour - less if you consider commercials.

John, John... Brooding, yes, dark and romantic, sometimes, eccentric, always. Yet, nineteenth century poet still comes off as an unusual choice. I will say this for Cusack; while I've avoided his films since Must Love Dogs (painfully bad, the man must have hated making the movie), at least he's engaged and seems to enjoy the dialogue in The Raven. Alice Eve is a pretty heroine, and Luke Evans is very handsome as the persistent detective - but there's really nothing distinctive about the performances to recommend the film. Perhaps die-hard (pun intended) Poe fans will enjoy the references to his work, but more than that... pass. 

Silver Linings Playbook

It feels like a movie based on a book, but that's not so bad. It's actually really entertaining. It's got a little bit of everything, something for everyone, and key elements of successful tv shows. (We all know tv is where it's at these days.) Rehab, OCD, quirky characters, sports, dancing, fitness, romance, therapy, family, little diner, great leads, and a classic American setting in Philadelphia.

Bradley Cooper is recovering from anger management issues, having 'gone off' after finding his wife in the shower with a coworker. He still loves her, though, and is intent on proving that he's changed and that she should come back to their marriage. Staying calm and putting his life back together is a little more difficult when he has to move home, try to get along with his dad, take a room in the attic, live up to his perfect older brother, and learn how to deal with the crazy neighbor who follows him around.

Performances are all top-notch, but the stand out performer is Jennifer Lawrence. While I've heard the rave reviews of her performance in The Hunger Games, I haven't seen the movie, but I was pleasantly surprised by her womanliness, feistiness, and authenticity. She's really wonderful to watch, and the film thrives when she's around. I also really enjoy the fact that she and Julia Stiles actually look like they could be sisters - this cannot always be said for the casting of family members. DeNiro as Cooper's dad? Um...

What's fun about the movie is the interplay between Cooper's Eagles/Philly sports-obsessed family and Lawrence's dance project. I imagine Siver Linings Playbook makes for a great date movie. It tugs at the heartstrings in some very predictable ways, but also in some unexpected moments. Even the predictability of events is comforting, because it bodes well for the characters' lives. There's so much going on in the movie, but it's to adapter/director David O. Russell's credit that it never feels overwhelming (unless it's on purpose, for effect). The underdog casting choices also work in the film's favor. Early in the casting process, Mark Wahlberg and Anne Hathaway were attached to the project - safe to say that would have been a much different movie.

*Update: Nominated for Academy Awards: Best Performance by an Actor in a Leading Role (Cooper), Best Performance by an Actor in a Supporting Role (DeNiro), Best Performance by an Actress in a Leading Role (Lawrence), Best Performance by an Actress in a Supporting Role (Jacki Weaver, as Cooper's mother), Best Writing, Screenplay Based on Material Previously Produced or Published, Best Motion Picture of the Year, Best Achievement in Editing, Best Achievement in Directing. A tad overkill with all the nominations, but I liked Lawrence.

Peanut Gallery

The thing is, I've seen a lot of movies lately, but haven't gotten my act together to finish writing even one commentary. Instead, I'd like to update with the snippets I've been holding on to for the last few weeks. 

Prometheus
Someone tell Charlize Theron we at least know who is the toughest of them all. Yet again, Noomi Rapace proves she's more badass than Charlize or Kristen Stewart or you will ever be with her role in Ridley Scott's Prometheus. Then again, I wouldn't mess with Charlize's evil Queen Ravena (Snow White and the Huntsman). Nominated for Academy Award: Best Visual Effects

Snow White and the Huntsman
The scenes with Theron's character are visually stunning, and the mushrooms in the forest are an excellent addition, but the film as a whole is a mess. Not even Theron's beauty (never, ever threatened by Kristen Stewart) could save this film. Nominated for Academy Award: Best Costume Design, Best Visual Effects

Salmon Fishing in Yemen
Quiet little film, nice, but not special. Romantic and simple; love Ewan's accent, not sure I buy the relationships on the whole. Come to think of it, I'm not sure I buy the premise, either. Weird.

Plunkett and Maclane
Robert Carlyle is one of my favorite actors now. It's a wonder I haven't seen his work prior to Once Upon a Time, where he is a revelation as Rumplestiltskin. Seriously, somebody give this guy an Emmy already. Carlyle is impressive and versatile - his ability to draw hatred and compassion from his audience is nearly unrivaled. Please do tell me who else has given a performance that drives you mad in one moment and makes you want to cry in the next. That said, Plunkett and Maclane has potential - largely unfulfilled. And who did the color for this film? It's awful, or at least it has not held up well at all. 

Trainspotting
I don't get it. I guess it's just not my thing. I like Ewan McGregor plenty, but I guess I'm just not interested in movies about druggies. I don't even find it particularly funny. I just wanted to see Robert Carlyle. Should have gone with The Full Monty.

Ruby Sparks
What's that phrase that real critics use for girls like Ruby? Manic-pixie-dreamgirl? Because that's Ruby. And that's okay. Paul Dano is very much a writer-type, and who doesn't love Elliot Gould doing his thing as a psychologist? It's somewhat meta though, knowing that Zoe Kazan - who plays Ruby - also wrote the screenplay. Very cool, too. Even if it does have an uber-predictable ending. I dig it.

Wreck-It Ralph
John C. Reilly, Jack McBrayer, and Jane Lynch are instantly recognizable, thoroughly enjoyable, and dynamic voice actors. Alan Tudyk channels Ed Wynn as the voice of King Candy - the too-sweet tyrant of a racing game targeted at an audience of little girls. The underdog heroine of said game is Vanelope Von Schweetz, voiced by Sarah Silverman, who for the first time (almost ever) is NOT irritating as hell. The one curious thing about the movie is the uncomfortable feeling I had when I recognized very strong pro-life themes to the story. Maybe that's just because it was election week. Nominated for Academy Award: Best Animated Feature Film

Magic Mike
Like much of my life, Magic Mike is a joke that goes on far, far too long. Also: Channing Tatum? No. Matt Bohmer? Yes. Please. Honestly though, the only good thing about Magic Mike is Joseph Gordon Levitt's SNL routine.


*Listing entry as Recommended for Prometheus, Ruby Sparks, and Wreck-It Ralph.
*January 2013 Update for Academy Award Nominee information


Bonus! Some recently reviewed and fabulous films are now out on DVD: Brave and Your Sister's Sister.

Double Feature: Lola Versus and Damsels in Distress

Even if it was unintentional, it makes sense that the Double Feature after the one featuring Mark Duplass is for Greta Gerwig. The uber-indie darlings are also former costars and collaborators on a couple of films, plus Aubrey Plaza from Safety Not Guaranteed has a small role in Damsels in Distress. First, though, I want to start with the "post rom-com" Lola Versus.

As Lola, Greta Gerwig is an unusual heroine. Greta Gerwig is an uncommonly authentic performer. She has moments of vulnerability juxtaposed with her independent instincts. She's beautiful, but awkward. Intelligent, but makes stupid decisions. Clumsy and needy. She's very much an average woman. When Lola's fiance Luke (Joel Kinnaman) puts the kibosh on their wedding, it's just the start of Lola's plans gone awry. Of course she and Luke share the same friends, so turning to Alice (Zoe Lister Jones) and Henry (Hamish Linklater) is difficult. Right. I get it. But how is Lola different from any other twenty-something-screws-up-in-New-York-City movie? 

Real life couple Daryl Wein and Zoe Lister Jones co-wrote the script as an antidote to the "epidemic of smart, awesome women who were really struggling on the dating scene... We felt like we always see the more escapist, glamorized versions of women... but we hadn't really seen the grittier, more authentic and real version of that." (Source linked below.) And so, Lola Versus is a romantic comedy gone wrong. A coming of age film for a woman in her 29th year, it's an embarrassingly accurate depiction of current social mores and contemporary relationships, the incestuous cycle we twenty-somethings fall into when there's a mixed-gender group of friends. Falling for one another, falling for another's ex, clinging to the people who hurt us, and grasping for what we hope is a change in the right direction. All because Lola is eager to please - to meet the expectations of the ones we love, or even the ones we want to love.

Damsels in Distress starts off feeling like a strange cross between Mona Lisa Smile and Clueless, scripted by the writers of TV's Bones. At a small university, three girls invite transfer student Lily to be their roommate and fellow do-gooder. Violet and her friends devote a portion of their free time to working at the suicide prevention center, where in addition to doughnuts, they offer tap dance classes to the clinically depressed. The film is a highly stylized vision of prep life, reminiscent of a Woody Allen film, full of characters that speak in a manner that is completely curated. Not even Greta Gerwig can bring a feeling of honesty to this one. Analeigh Tipton, as Lily, is very likeable, even if the rest of the film feels aimless and overlong. It's not much longer than Lola Versus, but I felt every minute of it.

I guess it depends on how you like your indies. Emotionally charged dramedy or erudite social commentary - take your pick.

Notes and sources:

• Interviews with Daryl Wein and Greta Gerwig
• Hamish Linklater was one of the best parts of Miranda July's The Future, another ultra-indie film I watched a few months back.
• Viewers who liked Lola Versus may also enjoy: Walking and Talking (with Catherine Keener) and Easy (with Marguerite Moreau).
• I really only rented Damsels in Distress because I went to high school with Zach Woods, who plays the editor of the school paper. You may also recognize him as Gabe from NBC's The Office.
• All the Damsels have flower names: Violet, Heather, Rose, and Lily. Really, Whit Stillman? Really?
• Brief interview with Damsels' writer/director Whit Stillman adds some interesting perspective to the films' potential.
• Oh, that Analeigh Tipton! She's also in Crazy, Stupid, Love.

The Bourne Legacy

Well, if I didn't love Jeremy Renner before The Bourne Legacy, I sure as hell do now. In what makes a surprisingly smart move for the producers of the Bourne films, Renner picks up where Matt Damon leaves off, but with his own character. The Bourne Legacy isn't strictly speaking a remake (even if it follows the same structure), and it isn't a sequel or prequel - it's more of a sibling to the Bourne films. They grew up together, in a way, and share the same history. Same parent, Robert Ludlum. It's a great way to tell more of the Bourne backstory and film big explosions, terrified government staffers, and choreograph some intense chase sequences - without trying to convince audiences that Renner is Bourne, virtually synonymous with Matt Damon after five films. Developing his own character, Renner brings heart and believability to The Bourne Legacy. Those who remember Renner in his breakout role in The Hurt Locker know that this is something he does well. His involvement in Mission: Impossible  Ghost Protocol may well have left audiences thinking what a shame it is that Tom Cruise is unlikely to relinquish his role at the head of the M:I franchise.

Back to Bourne Legacy. The basic plot, of course, has Renner's character, Aaron Cross, on the run from government agents intent on destroying any and all evidence of Treadstone, Blackbriar, and Outcome (the top secret projects that produced super-agents like Bourne and Cross). Cross is the only agent to have evaded assassination, the same way that Dr. Marta Shearing (Rachel Weisz) is the only scientist to have survived the mass shooting at the lab. With the lab destroyed and the project being dismantled, Cross is off in pursuit of the drugs, or "chems," that sustain his genetic enhancements. This brings him to Dr. Shearing, the one living scientist who knows about the project, whom Cross hopes will be able to provide him with the necessary chems. Shearing proves unable to do so - but she may still be able to save Cross.

This is the first time that screenwriter Tony Gilroy takes the reins to direct one of his Bourne screenplays, and he's got a solid feel for how it should be done. Less handycam is better; I prefer to follow the chase scenes, rather than live them. Here's the thing, though: it really is the Bourne legacy. While the film works as a tangent to the original films, it is unlikely to spin off its own franchise. Bourne outstayed his welcome for cinema audiences, and as good as Renner is in the latest installment, it's just as easy and possibly a better idea to let him do what he does best in the context of a different film. In other words, I don't expect an Aaron Cross franchise. It's an especially bad idea as James Patterson's Alex Cross heads to the big screen.

Like the other Bourne films, the beginning is a little aimless and tough to follow, with lots of back and forth between the plotlines. I suppose it builds suspense though, which may be the point. Still, it's not until Cross and Shearing join forces that the film really takes off. Renner and Weisz are excellent together, balancing each other and growing as characters. Renner's Aaron Cross is significantly more interesting than I found Bourne (though I have not seen all five Borne pictures), full of empathy and concern for Shearing, regardless of romantic potential. What's fascinating is to learn about the man Cross was prior to Outcome, that Cross's recruitment officer added IQ points to the insecure young man's score to sign him up, and that the genetic enhancements effected not only Cross's physical profile, but moreover, his mental capabilities. No wonder Cross is afraid to regress to his former self - or to degenerate into something far worse. Of course, as his intelligence increases, Cross's analytical mind questions his actions and motivations, as well as those of his superiors. As long as he doesn't act on those concerns, he'll succeed, but any attempt to undermine project Outcome would likely result in his elimination. Yet, finding out who Cross was raises the stakes higher and shows us just how much he has to lose - not only is he fighting for his life, but only for a life worth living.

I can only hope that my own bias in favor of Rachel Weisz didn't sway my observation too severely when I say that she is more than capable of carrying the film with Renner. I certainly believe her excitement as a research scientist, and I always enjoy Weisz's American accent, even if she will always be Evelyn Ann Thompson (The Shape of Things) to me. Of course Ed Norton does his job as a greying Colonel trying to do damage control when it looks like government secrets may hit newsstands. His measured demeanor makes him a different kind of intriguing antagonist. It's a shame that our three dynamic leads never share a scene.

I caught one of few remaining showings of The Bourne Legacy on the big screen, but when it hits the Redbox and Netflix, I definitely think it's worth catching. Aaron Cross is an interesting character, he's fun to watch, and an action film in which characters actually develop is something of a novelty. While it may not be a landmark film for cinephiles, it's an exciting adventure all the same.


Additional info:

• Lots of Oscar nominees in this film: Jeremy Renner (2), Rachel Weisz (1, with 1 win!), Edward Norton (2), Albert Finney (5), David Strathairn (1), Joan Allen (3).
• Bourne Legacy was something of a family affair. Brothers Tony and Dan Gilroy wrote the screenplay, with Tony directing, and brother John editing the project. Gilroy patriarch Frank wrote several plays which were also adapted into films.
• Renner's most recent success came with his role as Hawkeye in Joss Whedon's The Avengers; one of the other Avengers is the Hulk. Ed Norton played the Hulk in The Incredible Hulk.
• Renner's co-star in The Avengers was Tom Hiddleston, who played Loki. Hiddleston also starred opposite Rachel Weisz in the marriage dramaThe Deep Blue Sea.

Looper

There are some films that I will see, and then wait some time before making any comment. Then there are others that I cannot stop thinking about and which I need to write about almost immediately. Looper is one of those films.

Perhaps (and I hope) you have heard of it. In Looper, time travel is invented and immediately outlawed by 2074. The mob uses illegal time travel to send targets to a unique brand of hit man: the looper. Loopers collect bars of silver for their troubles, and spend their evenings in select clubs doing drugs in the form of eye drops, and in the company of hookers and other loopers. Thirty years later, a new boss known as the Rainmaker comes to power and begins 'closing all the loops' - sending hitmen back thirty years, to be eliminated by their younger self. This is accompanied by a hefty payout, of course, but what happens if you just can't do it? One of two fates, the first of which befalls Seth (a blonde Paul Dano, still most famous for Little Miss Sunshine, unless you saw the more recent Ruby Sparks). It is violent, frightening, and graphic, and involves a man known only as "the Doc." The second possibility is the story of Joe (Joseph Gordon Levitt and Bruce Willis). Old Joe isn't ready to give up his life after thirty years. He has something to fight for - his wife. Younger Joe, of course, has no connection to this romantic idea and is perfectly willing to kill his older self if only to return to his life at present. Joe sees Old Joe as a completely separate person, perhaps only because he has had to prepare himself for the likely possibility that he will have to complete his loop - but Old Joe is on a mission to find the Rainmaker. In 2044, the Rainmaker is just a child, but one that will grow up to wield a great deal of power and be the reason for Joe's current situation. If Old Joe (or younger Joe, really) can find and kill this Rainmaker, then presumably Old Joe could return to his home, and his wife.

It's been a few years since the initial collaboration between writer/director Rian Johnson and leading man Joseph Gordon Levitt. Their first project, Brick, set both men on the map as having real potential and creators of fresh, original work (not easy to do). It also made JGL a leading man for the first time, and gave him a chance to showcase his dramatic chops. But whereas Brick turned film noir on its side by applying it to high school students, Looper takes the route of a curiously authentic sci-fi film. Mixing the old with the new isn't simply thematic, it's essential to the reality of the film. Joe uses a vintage-style stopwatch, a blunderbuss for a weapon, and prefers swanky red convertibles to the new motorcycle-based hovercrafts. Then again, 2044 isn't so far into the future. The glimpses that we do see of the future, in Shanghai, are carefully designed to create a bridge between Joe and Old Joe. 

Most of what you read or find about Looper will highlight the work that went into drawing likenesses between Willis and Levitt. It is strange, how even with prosthetic, Levitt can look like himself and yet like Willis. He's able to suggest the Willis stare and any number of other recognizable traits, and the prosthetic seals the deal - as long as you don't look at the eyebrows, especially not in the awful bright daylight shots. Those were awful. Levitt's great, but those eyebrows were outlined in fat crayon. Other than that, the voice, the vocal mannerisms are spot on, and thanks to Inception and Premium Rush, Levitt's no stranger to an action sequence. Willis is Willis, ever wizened and determined. It's taken him longer than most of us will, but he's starting to look his age - or maybe that's for the film. Red 2 is coming up, and I know I'm interested. It's difficult to talk about the supporting cast without giving too much away, so let it suffice to say that they're all excellent. Emily Blunt is always a welcome presence, bringing intelligence and compassion to everything she does. 

Looper has a lot in common with Brick - both being quality cinema with dark overtones, not afraid of taking chances while still calling on the past to tell a story. While Rian Johnson's second film, The Brothers Bloom, wasn't quite my cup of tea, I'm intrigued to see what he comes up with next. Layered and thoughtful, Looper is a great action flick. While it may not take the place of Inception as the movie to write about for film class, it certainly has the strength of theme and performance going for it. Not to mention Willis and Levitt.



Additional information and links:

• Viewers who liked Looper may also like: Brick, Drive, and Hesher... maybe even Contraband. (Links go to commentaries.)
• Huffington Post article with details about the prosthetic required for JGL to look like Bruce Willis
• Current.com video interview with Rian Johnson and JGL about the film, and of course about JGL's process to emulate Bruce Willis
• Waitress Beatrix is played by actress Tracie Thoms, whom I love. She and Emily Blunt both had roles in The Devil Wears Prada.

The Words

Dennis Quaid is in this movie? Pretty sure he’s not in the trailer, but maybe he is, for a moment. Turns out Quaid is the narrator of what turns out to be a tri-layered narrative: the author telling a story about an author who stole a story from a guy who wrote a story. (Got that?) The top-most layer of the narrative is flimsy. Dennis Quaid is hardly a man bearing a burden, but very much the aging celebrity revelling in the attentions of a young beauty (Olivia Wilde). Whatever parallels are intended between Quaid’s character and the wonderboy Bradley Cooper plays are weak. What’s most interesting about the movie is the questions it raises about responsibility in fiction. What does an author owe his readers? What can the reader demand of the writer? Anything at all? Who is responsible for the truth of the story? Does executive producer Bradley Cooper owe us anything other than a diversionary entertainment? Probably not.

Rory Jansen (Bradley Cooper) wants nothing more than to be a successful writer, but not until he finds a long-lost manuscript in an antique portfolio does he attract any attention. By passing the book off as his own, Rory is able to see his own two novels published and garner the acclamation he dreamed he would earn. He’s not entirely happy; there’s a guilty conscience beneath that polished exterior. (Really polished. Even as struggling-writer Rory, Cooper sports perfectly manicured hands. Ridiculously distracting for me.) Coming face-to-face with the award-winning manuscript’s owner tips Rory off balance and shakes up his life. But at what price honesty? Truth at what cost? And what does Dennis Quaid have to do with this? Moreover, what does Olivia Wilde have to do with any of it? And why is she smitten with Quaid? There’s a little too much going on here for anything to be fully developed. Maybe it’s meant to be ambiguous, but it feels more like Hollywood laziness.


** Bonus trivia: You might not recall Bradley Cooper from TV’s Alias, but it’s pretty cool to see him as a writer again, and in the same room as Ron Rifkin - if only for a moment.

Contraband

Mark Wahlberg + Ben Foster + New Orleans = Contraband. 

If you missed this the first time around, but caught Wahlberg's ode to Boston, Ted, you might want to give it a look. Giovanni Ribisi was wicked creepy as the guy who wanted to buy Ted, and he's Wahlberg's villain in Contraband as well. Here, he plays Tim Briggs, a creepy drug runner operating out of Nola (that's how we Southern-hearted refer to New Orleans), whose latest shipment ends at the bottom of the ocean. Chris Farraday (Mark Wahlberg) may have left the life behind, started a company, making an honest living, but he puts family first. He then takes it upon himself to help his brother-in-law Andy set things right. The only way to do it: join the crew of a cargo ship and run contraband. He has two weeks to raise $700K, and honest work just won't cut it. How he goes about getting and transporting the goods is complicated and I don't want to go into details here. While Farraday is away, Briggs amps up the pressure, making threats to his family and causing Chris to ask his best friend Sebastian (Ben Foster) to look after his wife and kids. Sebastian, of course, has his own agenda.

A heist film with family values? Perfect, let's cast Mark Wahlberg. There's no real doubt that Wahlberg is his totally watchable self, but as ever, it's Ben Foster that's the one to watch. Foster has a knack for making his roles more interesting than his costars'. He's a crucible of intensity, riveting and fun to watch. He doesn't miss a beat, and he manages to be frightening in a way that Ribisi can't quite pull off. Beckinsale is almost unrecognizable as her opposite: a blonde American. I always enjoy seeing J.K. Simmons pop up in a movie or TV show; most recently he cameo-ed as Bradley Cooper's father in The Words. He gets some great lines in his projects. Hell, he probably took the role so he could say, "Don't piss me off more, or you'll be flippin shit burgers down at McDonald's faster than you can say 'minimum wage.'"

This is director Baltasar Kormákur's first major American film, which is what gives it the unique pace, and I imagine, the reason for the complexity of the plot at sea. The Nordic director - born in Iceland, of half Spanish descent - is famous in Europe, but relatively unknown here in the US. In any case, Contraband is a pretty good, if mostly forgettable, action-heist. Pop some popcorn and be entertained for a couple hours.

The Dark Knight Rises

Lots, lots to say today, folks.

Such, such an amazing film. I'm not going to lie and tell you that it's a short three hours; but is it worth the time? Yes. Perhaps tepid reviews stem from the feeling that you're watching a three-part miniseries back-to-back. While writer/director/producer Christopher Nolan has decided it's time for him to give up the mask (though not the cape, evidently, as he's produced the forthcoming Man of Steel), he's given us one final film for the franchise. He's also proven that The Dark Knight can be bested. 

Nolan drives the film as he's been wont to do - with gripping action sequences punctuating somewhat languid plot movement. He's good though, and he has good editors; whereas other directors or films highlight the action as chaos that needs to be ordered, Nolan's sequences are about the plot, making sure not to put too much emphasis on destruction (of which there is plenty). Plus, we now know who our villain is: Bane. The other man-in-a-mask figure, played by Tom Hardy, is a massively muscled, impervious mercenary on a mission to bring anarchy to Gotham, to let fear and corruption drive the citizens to destroy one another. Why this is a goal for villains, I will never understand. But okay. 

As I was saying... In the eight years since the death of Harvey 'Two-Face' Dent, Commissioner Gordon has restored order to Gotham while Bruce Wayne and his alter ego have been out of commission, in mourning and in hiding, respectively. Rumors fly about the playboy-turned-recluse, but not until a young cop (Joseph Gordon Levitt) pays a heartfelt visit to Wayne Manor does the caped crusader come out of retirement. Of course, it's not as easy as putting on the suit - it never is - there are a few new faces trying to make life difficult for Wayne. First there's Bane, then there's this sneaky little vixen, a cat burglar (ergo: catwoman) by the name of Selina Kyle. 

The fact that Caine, Bale, Freeman, and Oldman give great performances is no surprise. It's consistent with the first two films. In fact, they're all better, without the burden of a weak female lead. Anne Hathaway is surprisingly versatile as cat burglar Selina Kyle, with a dash of unexpected sex appeal. There was a lot of doubt and some serious backlash when the first screenshots of Hathaway were released. What Nolan's done, though, that's really smart, is to start Hathaway off in a modest guise: a meek personality, submissive, and unthreatening. It makes the transition from Mia Thermopolis (face it, she's still The Princess Diaries girl) to Selina Kyle go much more smoothly. Especially fun is the moment she slips past Officer John Blake to escape a crime scene. Joseph Gordon Levitt is Blake, an idealistic cop who seems to be the only one willing to do the right thing. He looks up to Bruce Wayne as a fellow orphan who's made something of himself, and he quickly becomes an ally for Commissioner Gordon. Levitt makes a strong case for a character that is not a villain and not a part of the first two films - and the fact that Christopher Nolan has assured us that he will not be making another Batman film means that we are unlikely to see Levitt in the role again. Still, another new character is Miranda Tate, played by the fourth Oscar-winning actor in the cast, Marion Cotillard. I may be more than a little biased toward Cotillard, but she really is excellent. I'm not the only one whose jaw dropped - you'll know when, and why, when you see the movie.

If there's one generalization to be made for the films of Christopher Nolan, it's that he works from a tight, if complex, script, and with a dynamite cast. While his list of credits may not be prolific, it's proof that quality is what counts. My interest in this third Batman movie comes primarily from the casting choices, and what he's done with these characters is so very good that I am actually a little disappointed at the positivity with which Nolan rejects the idea of a fourth film. Maybe it's for the best, though. We wouldn't want Nolan to be the next George Lucas, would we?

Extra Stuff:
- On a personal note, I wonder if Nolan is also a fan of Tarsem's The Fall. I recognized several locations shared between the films. This includes the Mehrangarh Fort in Jodhpur, Rajasthan, India.
- The Dark Knight Rises borrows heavily from Charles Dickens' A Tale of Two Cities. I could write a whole separate essay on the similarities.

- Marion Cotillard is the fourth Oscar-winning actor to join the franchise. Other winners include Michael Caine (The Cider House Rules and Hannah and Her Sisters), Morgan Freeman (Million Dollar Baby), and Christian Bale (The Fighter). Cotillard won for her portrayal of Edith Piaf in La Vie en Rose.

- The Dark Knight trilogy features several performers that have had roles in other Christopher Nolan films. 

     > The Prestige: Bale, Caine

     > Inception: Caine, Cotillard, Hardy, Levitt, Murphy, Watanabe

//rant: Baz Luhrmann should have cast his Gatsby entirely out of Nolan's Inception. That way he could have DiCaprio as Jay Gatsby, Joseph Gordon Levitt as Nick Carraway (muuuuuch better idea than Tobey MacGuire), Marion Cotillard and Tom Hardy as Daisy and Tom Buchanan, Ellen Page as Jordan, Cillian Murphy as Owl-Eyes... that's over half the principal cast right there. //endrant.

Trailer Notes: 

- Trailer for Oz - Somewhat promising, though Rachel Weisz is looks like she'll easily be the most interesting part (oh, wait, she usually is). May look too much like Alice in Wonderland for my liking, though. I'm all about recycling, but it's CGI. Come on, now.

- Trailer for Django Unchained - Looks awesome. Of course, I'm afraid that what I'm hoping for is the next True Grit, and what I'll get is Kill Bill Goes South. 

- Trailer for The Campaign - WTF? What are you doing here? Why does this even exist? 

- Trailer for Man of Steel - I know you're tired of superhero movies (even though you're seeing the THIRD Batman movie), and I know the last time they tried this, it sucked (especially for Brandon Routh, who is now a punchline in the movie Ted). I hope it's not too late for this one. Marketing is certainly doing their best to get you to consider it. There's barely a glimpse of the suit and cape in the promo, and need we remind you it is produced by Christopher Nolan (whose THIRD Batman movie is what you are about to see). Plus it was directed by Zack Snyder! You liked 300, right, 18-35 year old demographic and target audience? I mean, right? But seriously, I liked Henry Cavill back when he did The Count of Monte Cristo, and I thought he should have played Superman the last time Hollywood tried. Not sure he's Superman enough to have saved that film though...

Double Feature: Safety Not Guaranteed and Your Sister's Sister

It happens, sometimes, that the same actor is in two movies released at the same time. Last Sunday I ventured to Kendall Square Cinema to catch Safety Not Guaranteed; this week I returned to catch the indie hit Your Sister’s Sister. Both films feature Mark Duplass, albeit in very different starring roles.

Safety Not Guaranteed
In Safety Not Guaranteed, Duplass plays Kenneth, whose personal ad seeking a companion for time travel becomes article fodder for a magazine reporter (Jake M. Johnson of Zooey Deschanel’s comedy New Girl), and whose scientific endeavors may or may not have attracted government attention. Darius (Parks and Recreation’s Aubrey Plaza) is the female intern who is drawn to Kenneth even as she fears what her investigation for the article might turn up.

I’m still not sure I know what I want to say about this film. I still adore the trailer, and the potential that I saw in it. In the end, the film was a disappointment. From the trailer, I had hoped that Safety Not Guaranteed would have the best element of The Science of Sleep - the creative beauty reminiscent of rocket ships out of cardboard boxes, masking tape, markers, and buttons: “I believe that there are purists out there and that’s why I put that ad in the paper.” From the title, I supposed there would be an element of risk to the love story (because what else could it be?), but found the film sorely lacking in excitement, adventure, or danger. It was missing a little Wes Anderson - not because I’m a fan of Anderson’s (I’m not), but because the dry quirkiness and sadness didn’t quite settle right. To go in another direction, perhaps the Duplass brothers could have studied the Polish brothers’ work. Twins Mark and Michael Polish wrote and produced Northfork - a visually imaginative film that lacked the authenticity of the characters in the Duplass screenplay.

The film’s marketing would have you believe it is the cleverest indie comedy this year, but the laughs are relatively few. Duplass is reminiscent of John Krasinski, but his Kenneth is more Dwight Shrute than Jim Halpert. Without Dwight’s self-confidence and superiority complex, Kenneth is just sad, and if we’re supposed to laugh at him for our humor... I know I didn’t. There’s too much quirk and not enough personality for Kenneth to be our hero. Nevermind the fact that the secondary plot - revolving around reporter Jeff - is an entirely different film. While the film boasts that it is from the producers of Little Miss Sunshine, Safety Not Guaranteed is missing the one thing that made Little Miss Sunshine so special - the right blend of comedy, drama, regret, and adventure. Satisfaction not guaranteed.


Your Sister’s Sister
The title is not as confusing as it sounds, and the picture is every bit as good as its buzz. Lynn Shelton wrote and directed the movie, a kind of beautiful poem set off the coast of Washington. Iris (Emily Blunt) sends her best friend Jack (Mark Duplass) out to her family’s cabin, where he stumbles in on Iris’s sister, Hannah (Rosemarie DeWitt). Jack’s supposed to be sorting out his life with some alone time; having broken off a seven year relationship, Hannah was planning to do the same. A bottle of tequila later, Jack and Hannah have slept together - and Iris is at the door.

Of course Iris is in love with Jack, and complications ensue, but it’s the honesty and intimacy of the film that make it work. Life and relationships are never anything but complicated - it’s how you deal with those complications that makes it worthwhile (or not). Emily Blunt and Rosemarie DeWitt are completely believable as sisters, which is rare, and the playfulness between Blunt and Duplass is delightful. From their first on-screen conversation, Iris and Jack are fun to watch. Duplass is at least fifteen times more interesting and charming than he is in Safety Not Guaranteed, and seeing him with Emily Blunt kind of makes me wonder if that’s what her marriage with John Krasinski is like. DeWitt is fascinating to watch as we get to know Hannah, bringing a different, very grounded energy to her scenes.

Your Sister’s Sister reminds me of Nicole Holofcener’s Walking and Talking, and I mean that as a complement. It will be interesting to see where Duplass turns up next, and I would certainly like to see more from Lynn Shelton - and soon. 

Notes

- Your Sister's Sister is not the first time Shelton and Duplass have worked together; Shelton had a small role in Safety Not Guaranteed. She also wrote, directed, and acted in Humpday, which also starred Duplass.

- Did you catch all the TV credits for the actors in these films?

  Mark Duplass: The League 

  Jake M. Johnson: New Girl

  Aubrey Plaza: Parks and Recreation
  Kristen Bell (featured in Safety Not Guaranteed): Veronica Mars, Heroes, Party Down
  Rosemarie DeWitt: United States of Tara, Mad Men
- Both Safety Not Guaranteed and Your Sister's Sister are set in Washington state.

*Listing this entry as Recommended for Your Sister's Sister.

Brave

I don’t like to read reviews of films I intend to see or review, but my internet browsing is such that I can’t help but catch some of the headlines. How Disney & Pixar’s Brave received anything less than rave reviews is beyond me. I enjoyed Brave more than most films lately, and certainly more than the other family/animated films I’ve seen in the last few years though I admit I have yet to catch Up (pun intended!) and Toy Story 3. Still, I think it’s safe to say that Brave is a different animal.

For the last twenty years, Disney has tried to give young girls a diverse range of Princesses - new role models, or at the very least strong female leads, whose success isn’t founded in being pretty (I’m looking at you, classic Disney: Snow White, Sleeping Beauty, and Cinderella). First there was Jasmine (sort of Indian!), Belle (an intellectual!) Pocahontas (Native American!), and then Mulan (wants equal rights! And is Chinese!). Then they attempted to give us Tiana (the first African-American princess! Who wasn’t really a princess at all...) in The Princess and the Frog, which turned out to be something of a disappointment. Most recently, there was Tangled, where even a return to blonde-haired, blue-eyed traditionalism mixed with modern feistiness couldn’t hide weak storytelling and lame songs.

Brave lives up to its name by breaking all the rules. Merida is Scottish and speaks with an accent (wasn’t Belle supposed to be French?). She’s also a fiery redhead (the second, after Ariel) who not only rides horses but has become a skilled archer without having to masquerade as a man. She’s fiercely independent, excited by adventure in ways Belle only ever sang about. And while Tangled marketed Rapunzel’s hair as its own character (it was not), Merida’s incredible curls are far more impressive. Merida also represents a minority in fairytale land - she has both of her parents, both of whom love her dearly. In fact the relationship between Merida and her mother, Queen Elinor, is at the heart of the film. Not that you’d know it from the trailer.

Merida can’t bear the thought of marriage, so she rebels when her parents ask her to choose from one of three rather unsuitable suitors. Deep in the woods Merida follows a path lit by willo-the-wisps, magical fairy-like creatures; the path leads her to a hidden hillside cottage where a reluctant witch spends her days carving bear-themed - everything. Merida bargains for a spell that will help her change her fate... but at what cost? The film’s tagline may be “change your fate,” but only to avoid the clichéd, “be careful what you wish for.”

I don’t want to give away the story - and based on the trailer, clearly neither did Disney - but if you’re not even a little intrigued by the trailer, you might miss out. Brave is moving and different, it gives us castles and archery, gowns and kings and queens and princesses, fiery redheads and friendly horses; but it also pays homage to some of the classic Disney things that were always successful - princesses, witches, magic, mischief, forests, and animals that are less like animals and more like people. Brave also manages to offend fewer feminists, as the resolution does not require Merida to fall in love or to get married. I’m nearly thirty and, perhaps especially for this reason, it’s beyond refreshing - it’s novel, to finally have a princess whose ambition is not once, not ever, tempered by a need for marriage or romantic love. Now if I could only figure out why I associate Merida with Taylor Swift... (I think it’s the curls.)

If you do see Brave, and I hope that you do, there’s an added bonus. As with most Disney/Pixar films, there is an animated short before the feature presentation. Ahead of Brave is La Luna, Oscar nominated in 2012 and an absolutely exquisite little story about a young boy with a special destiny of his own to discover. Reminiscent of classic children’s picture books with more unexpected turns of events than most full length films, it’s a perfect way to set the tone for the fantastic adventure that follows.


Bonus trivia:
- Brave is scored by Scottish composer Patrick Doyle. I know Doyle's work best from his collaborations with Kenneth Branagh - like Much Ado About Nothing. Emma Thompson played Beatrice in Much Ado, and voices Queen Elinor in Brave.
- La Luna is scored by Michael Giacchino, frequent collaborator of J.J. Abrams and composer for the film Up.
- Listen carefully to Lord Dingwall: that's Hagrid (Scottish actor Robbie Coltrane). And Lord Macintosh? Craig Ferguson (also Scottish).
- Reese Witherspoon was originally set to voice Merida. She's said to have had to back out because of scheduling conflicts... but my personal suspicion is that her accent wouldn't have fit. She was replaced with Kelly Macdonald (actually Scottish).
- Nominated for Academy Award: Best Animated Feature Film

Preview: Les Miserables - Trailer

The trailer for Tom Hooper’s adaptation of Boublil and Schönberg’s musical was released this week, and a couple of people have asked for an opinion. I have strong feelings about this one already, though all I have to go on is the casting, some pictures, and now, the trailer. I hold Les Miserables very close to my heart, largely because of my own experience as assistant director for a production in California.

I have a tendency to talk about my career in theatre like an old drug habit - good times were had, crazy times, I had a certain group of friends, and now I’ve moved on to a grown-up job in the suburbs, with no intent to return to my old ways. I don’t like going to theatre, I don’t miss it, but there are some experiences that have forever changed me. One of those experiences was Les Miserables at PCPA Theatrefest. PCPA was the first company to acquire the rights to the show after the Broadway production closed, and one of the stipulations of the contract was that the designers were prevented from recreating the original, iconic sets and costumes. This forced us to rethink the show, go at it from the source material, to seek inspiration from the show’s concept album and the epic (in the truest meaning of the word) novel by Victor Hugo. No film will ever truly capture the scope of Hugo’s mammoth text, which was written over the course of seventeen years, but I do believe that it’s possible for the truth of the story to get through - if the characters are true to the author’s intent, and the plot isn’t mangled too badly.

Based on the early images and choices from the filmmakers, I definitely question some of the decisions. Call me crazy, but I would rather see the characters portrayed accurately than see another production of the musical version of Les Mis. What I respect about the musical is that it leaves room for detail. An actor who has done his or her research and allows it to inform the performance will offer an intricate and dramatic performance based on much stronger motives. In the movie industry, good casting is too often sacrificed for names and PR. Bad enough that self-involved teenagers swooning with unrequited love lament “On My Own” in theatres all over the world, but “I Dreamed a Dream,” too, has been reclaimed and abused by Susan Boyle fans. These are small moments in a vast story whose much bigger theme is redemption - the cost of which most of us could not begin imagine.

When I first met Les Mis in the seventh grade, I could not possibly relate to the middle-aged prisoner Jean Valjean. Knowing the story as I do now, it’s clear that Les Miserables is his story. Valjean is the central figure; the saga begins and ends with him. Yet, strangely, the trailer focuses on Ann Hathaway as Fantine. I know Fantine has fallen on hard times - but insofar as the trailer is concerned, I don’t think she’s fallen far enough. Ann Hathaway looks perfectly healthy, sporting her short ’do, and not at all the desperate woman and mother Fantine is. Fantine is not simply a woman who was seduced by a gentleman and became pregnant. We know from the song that she believed she would be with the child’s father - what we don’t learn is the only reason she is alone: the gentleman and his friends thought it would be funny to dally with these girls and then drop them, without any explanation. It’s positively Neil LaBute. When Fantine gives birth to her child, she has no intention of giving her up, and her efforts to earn enough for the both of them drive her to hock her only possessions (including her hair), prostitute herself to disgusting businessmen and foul sailors, and to sell her teeth. Her daughter, she has been told, is sick and will surely die without money for the doctor. No, Hathaway looks quite well, and quite unlike a mourning mother.

And that’s just Fantine. Those familiar with the story may recall that Fantine all but disappears from the story fairly early. What becomes of Valjean? And from whom is he hiding? The first actor attached to the production was Hugh Jackman - an excellent choice for Javert. That is not, however, who Jackman is playing. Granted, Jackman has the far superior voice - but Russell Crowe would undeniably be a more imposing figure. Far more believable as the strongest man to have passed through French prisons - and escape. It’s hard to imagine Crowe as The Law, or Javert. Born in a jail and determined to bring all wrongdoers to justice, Javert pursues Valjean even as the escaped convict spends his life protecting Fantine’s daughter. The animal imagery and strength attributed to Valjean seems much more appropriately attributed to Crowe than Jackman. Who is more likely to lift a heavily laden merchant cart off of an old man? It’s difficult to imagine Jackman doing so, but former Gladiator Crowe makes sense. It would seem that vital characteristics have been overlooked by the filmmakers. Don’t even get me started on Eponine (she’s supposed to be ugly!). The aptly cast roles of the Thenardiers do not appear in the trailer, and I anticipate excellent, spot-on performances from both Sacha Baron Cohen and Helena Bonham Carter.

I’m an optimist at heart, and I hope that each incarnation is better - truer - than the last. I’ll still be among the first in line to see the film, but I would not be surprised to see the people (students, revolutionaries) take over the film and overshadow the main message. We shall see; time will tell.