Category Archives: Quick Takes

1. Argo (2012)
Written by Chris Terrio | Directed by Ben Affleck

My most anticipated film of 2012 and — for the most part — it didn’t disappoint. The great buzz, the high accolades and bushels of awards are all well-deserved. Argo is an extraordinarily well-made thriller from an actor I’ve always enjoyed watching and a director whose career I’m very excited about. Ben Affleck stars as a CIA agent who formulates a risky, convoluted plan to rescue six American hostages from Iran in the late 70′s. It’s one of Affleck’s best performances and I’m surprised we’re not seeing much acclaim on that front. Of course, he may be a better director than he is an actor, but that shouldn’t take away any appreciation for his sensitive portrayal of a man who puts his life on the line for his country.

There’s a lot to love about Argo. The cast of greats is a major highlight (I’m a sucker for massive ensembles of Hollywood’s best character actors, and Argo features one of the best casts I’ve seen in a long time). Affleck takes this subject very seriously and you get the sense that he and his team did their homework. The details are remarkable and the final credits sequence drives that home when we are shown comparisons of locations and persons and their on-screen counterparts.

If I’m going to nitpick about one thing in Argo, it is Affleck’s decision in the third act to rely on too many “saved at the very last minute!” plot devices in which our heroes escape from certain death by use of miraculous timing on more than one occasion. Argo then started to look more like a slick Hollywood thriller and less like a serious docudrama. It’s not a fatal flaw by any means but it did take me out of the experience for a little bit.

Otherwise, for a well-oiled high quality piece of entertainment, one cannot go wrong with Argo. It’s the kind of film I can recommend to just about everyone I know. A-

2. Killer Joe (2012)
Written by Tracy Letts | Directed by William Friedkin

What a delightfully fucked up movie. Of course, the scene that generates the most dialogue on Killer Joe is its infamous “fried chicken” scene (no spoilers here), but the film is so much more than that. It’s a twisted, intense white trash thriller about murder, insurance money and trying to not get in the way of individuals who have immense power over you. Emile Hirsch is a sad sack who hatches up a brilliant plan to have his mother murdered so that his sister (Juno Temple, a terrific discovery) can claim the insurance money. Thomas Haden Church (in arguably his best performance) is Hirsch’s father and gets reluctantly involved, who then eventually drags his new wife (Gina Gershon, ditto) in on the scheme. They hire a cop who is a killer on the side to do the job. Matthew McConaughey plays Joe, a sleazy, manipulative contract killer who never performs a job he isn’t comfortable doing. He’s careful, he’s methodical, and he has no boundaries. He’s also a guy with urges in which he satisfies with maniacal glee, making for some very uncomfortable (and oddly compelling) viewing.

A few things I adore about this film. First, I love that some of the major characters don’t even speak or show up on-screen at all. The writing is clever and sneaky that way. Second, there’s no limit to the depths of depravity showcased in Killer Joe. It’s not about how far the filmmakers are willing to go, but about how these twisted acts truly define the characters and their motivations. Of course Sharla (Gershon) opens the door naked from the waist down. Of course Joe likes ‘em really young. Of course Ansel (Church) has no clue what goes on behind his back (his reaction to some incriminating photographs are priceless). The fried chicken scene is simultaneously incredibly fucked up and yet makes complete sense to the people involved.

Killer Joe features the best career work by almost everyone involved. Director Friedkin has done incredible work in the past, but this is the most assured and loosest effort of his storied career. I’ve already mentioned how I’ve never seen Church or Gershon better than I have seen them here, but McConaughey is the real star of the film. His focused intensity is amazing to watch. I always knew he had the talent to pull off this kind of role, but thought he just never had the right material (or the motivation) to show us. 2012 will be a very difficult year for him to top (he just nailed it in Bernie and Magic Mike, didn’t he?). And Killer Joe – the performances and the film itself — won’t be soon forgotten by me. A

3. Prosecuting Casey Anthony (2013)
Written by Allison Cross | Directed by Peter Werner

What is this? A Lifetime made-for-TV movie about a sensational ripped-from-the-headlines murder case? What the hell is this doing on here?!

Please, allow me to explain. Prosecuting Casey Anthony isn’t the kind (or caliber) of movie I’d normally seek out. In fact, I knew very little about the Casey Anthony case prior to watching this. I don’t typically follow these types of tabloid cases because, well, I just don’t care. What intrigued me about this particular production, however, was three things:

1) Rob Lowe. I’ve always liked this guy and I’m loving his work on Parks and Recreation. Seeing this occasionally serious actor in a comedic role on a very funny show every week makes me respect him as an actor. Lowe is not a movie star, but a TV one. And a very good one. He plays Jeff Ashton, a skilled lawyer who seems to enjoy the spotlight as the guy who tries to put Casey Anthony behind bars.

2) Elizabeth Mitchell. Yes, Mitchell has appeared in a variety of film and TV projects, but she will always, always be Juliet Burke to me. Lost changed my life; it consumed much of my obsessive traits in the last decade and Mitchell played a big part of that. (Her vending machine moment with Josh Holloway in the Lost finale made me cry harder than anything in recent memory). Anyway, she plays Ashton’s partner at his law firm and the two seemed to be an intriguing match.

3) The trade papers were kind to this film. I was expecting harsh reviews, but the word of mouth was positive enough for me to say, “Ok, I’ll give it a shot.”

And I’m glad I did. As expected, Lowe and Mitchell had terrific (and refreshingly platonic) chemistry as a team who were so determined that Anthony was guilty. As a newcomer to the case, I had very little knowledge to what actually happened so I was surprised to learn that no one really knows what the hell happened. Prosecuting Casey Anthony certainly doesn’t provide answers or insight on the case or the people involved, nor does it try to be a groundbreaking display of media journalism. It’s not a movie I will go out of my way to recommend since it doesn’t really offer much in the way of gritty filmmaking, but I can honestly say I was compelled by it and enjoyed the way Lowe and Mitchell played off one another as passionate prosecutors in search for justice. In fact, I’d be thrilled if someone would cast these two gorgeous specimen of the human race (did I just type that out loud?) in a legal drama pilot for next season. B

4. Trouble with the Curve (2012)
Written by Randy Brown | Directed by Robert Lorenz

I had a lot of problems with Trouble with the Curve, the directorial debut of Clint Eastwood’s long-time producer and assistant director, Robert Lorenz. Lazy writing, poorly realized supporting characters and a conveniently tidy finale are some of the major issues I had, but despite all of that, there’s a certain comfort to be had when you are going along for a ride in which you already know the way.

I just really enjoyed the company. Clint Eastwood is still playing the old, cranky guy with health issues, but he wears that role comfortably. It fits him. His daughter is the terrific Amy Adams, a career-driven woman with a deep passion for baseball. She has no time for love, but she makes time for her unstable father and attempts to make things work between them. John Goodman is especially endearing as Eastwood’s longtime friend, Pete. Goodman excels in these kinds of roles (remember him in Always?); he is just a joy to watch. Justin Timberlake also has a few good moments as a former ball player who strikes an emotional chord with Adams’s distant character.

Look, Trouble With the Curve is not a particularly good film (how awful are the “villains” of this movie? All that is missing from Matthew Lillard [as Sanderson] and Joe Massingil [as Bo] are mustache twirlers), and I rolled my eyes when Adams made that last act “discovery,” but dammit, I felt happy for our lead characters when their emotional journey ended on a happy note (not a spoiler — you know it’s coming). There’s something about predictability that is strangely comforting. B-

5. Liberal Arts (2012)
Written and Directed by Josh Radnor

Liberal Arts is a very minor film that thinks it has a lot to say but really doesn’t. For Josh Radnor’s character, it’s about realizing he’s not the man he’d thought he would become. For Elizabeth Olsen, the future is bright and full of promise. For Richard Jenkins, the end is near and there’s no stopping it. These actors are wonderful to watch as they realize that some things are just not always in their control.

Liberal Arts is the second feature from the gifted Radnor. In terms of quality, I’d say it is on par with his debut, happythankyoumoreplease, though that earlier film actually stayed with me longer than it had any right to (it has been over a year since I’ve seen it and some scenes still linger in the mind). Radnor writes well, he has an unobtrusive eye and his presence is welcoming.

Liberal Arts is engaging enough but unfortunately packs very little punch. They talk and talk and talk but sort of move in circles. I do hope Radnor continues to churn out these types of films because, well, I’m a fan. He just needs to build on his craftsmanship. He’s got potential just waiting to be fully realized. C+

Safety Not Guaranteed (2012)
I was looking forward to this one for a really long time but ended up being very disappointed with it. It had a lot of things going for it: a time travel story, TV darlings Audrey Plaza and Jake Johnson in leading roles, and another meaty role for rising star Mark Duplass. To say the film underwhelmed me is an understatement. There is very little substance here and the situations our characters get involved in are clumsily executed.

A man (Duplass) puts out an ad in the hopes he would find a partner to travel through time with. For starters, it took a huge leap of faith for me to buy that a small magazine would pay for these reporters to cover such a non-story. These three reporters basically had a mini-vacation at the magazine’s expense while receiving no concrete answers or information for several days on end. The film just collapses under the weight of this premise. Of course, that the movie inevitably has very little actual time travel didn’t sit too well with me.

Safety Not Guaranteed is really about faith and believing in the impossible. It’s just unfortunate that I didn’t believe in this movie. C

Beasts of the Southern Wild (2012)
The indie sensation of 2012, Beasts of the Southern Wild is something of an anomaly. When I sat down to watch this film last week, I was transfixed by its unique storytelling, lyrical scoring and a magnificent central performance by Quvenzhane Wallis. But what really surprised me about this film was how much it was being embraced by audiences worldwide. Beasts of the Southern Wild isn’t an easy film to sit through; it’s a bit on the arty side (meaning: it challenges you) and there’s nothing conventional about it. This is not a knock against the film by any means, but it’s the fact that so many people in all walks of life are so taken by this offbeat, colorful film. Even the surliest of moviegoers are finding something to take away from this movie. So what does that really mean? For me, it means that – as of 2013 – the cinema is alive and well. Our favorite art form continues to thrive. B+

The Five Year Engagement (2012)
Sometimes all it takes is a thoughtful script and two engaging leads. On paper, The Five Year Engagement sounds as bland as any other rom-com you’ve seen in the last 10 years. Even the title fails to pop out. But when you get to it, the film takes you in. Nicholas Stoller directs this observant dramedy about a couple who adore one another but continue to find ways to put off their wedding. Emily Blunt continues to excel in leading roles (she has certainly had a very busy year) and her chemistry with the adorable Jason Segel is beautifully matched. I cared about this couple. I rooted for them to be together. It wasn’t just about the laughs or the hijinks but about their resilience. Come to think of it, perhaps The Five Year Engagement would make a perfect companion piece with Haneke’s Amour. No? Too far? B

Savages (2012)
Yay! An Oliver Stone film without any political or social agendas! I’m not Stone’s biggest fan but I’ve always admired his craftsmanship. He’s a director who embraces film as a way to spin a remarkable story. So that said, Savages is nothing more than a genre piece about a group of drug dealers who are in over their heads when they get into business with a high-powered Mexican drug cartel. The two best buds (well-matched Taylor Kitsch and Aaron Johnson) share a bed with the lovely Blake Lively, and when she’s kidnapped, things get ugly. The great cast also includes a surprisingly good Salma Hayek as the ruthless cartel boss, Benicio Del Toro as her sadistic lieutenant and John Travolta as a sleazy cop (good to see him playing for laughs; Travolta has a lighter side that is not used often enough). The film moves at an urgent clip, thanks to Stone’s penchant for nasty violence, a frenetic camera and showy editing techniques. It’s kind of refreshing to see a master at work on a meaningless project. Stone is just letting loose and having fun. Savages isn’t a great film by any means but it dares you to look away. B

The Dark Knight Rises (2012)
Finally. A Batman film I can wrap my head around. Until now, I have only been a distant admirer of Nolan’s previous Batflicks. Batman Begins was so heavy-handed and brooding that I found it nearly impossible to enjoy. Sure, it’s a technical marvel but there was very little heart and soul. The Dark Knight was a vast improvement, much thanks to Heath Ledger’s maniacal and inspired performance. The Dark Knight also featured a propulsive energy that was completely lacking in the trilogy’s first entry.

And now, with The Dark Knight Rises, Christopher Nolan upped the stakes and turned his Batman trilogy into something really special. This final entry gets it completely right. I’m still not crazy about Christian Bale’s performance under the mask — his voice is haltingly irritating, his features dramatically stuff — but his Bruce Wayne has become an intriguingly well-rounded figure.

The biggest surprise in The Dark Knight Rises was Anne Hathaway as the sneaky, vulnerable Selina Kyle, aka Catwoman. The film just lights up when she’s on-screen and she is precisely what this trilogy was missing. A terrific character, a terrific performance. Less successful, though impressively foreboding, was Tom Hardy as Bane, a character that was only frightening in his physicality. In all fairness, you can’t top Ledger’s Joker, but Hardy and Nolan created a worthy adversary to wrap up this trilogy.

Everything else here really worked for me. Caine’s heartbreaking work as Wayne’s loyal servant, Alfred. The brilliant set pieces involving the shut-down and imminent destruction of Gotham. The inner turmoil eating at Commissioner Gordon (a great Oldman performance). Not one, not two, but three delightfully surprising twists in the final act — the first twist drew a huge gasp from me, the second one left my mouth wide open and the last one gave me some serious goose bumps.

So, to my complete surprise, The Dark Knight Rises finally brought some life into the Batman franchise; it provided a much-needed jolt of adrenaline and high stakes. I didn’t think it would top The Avengers as my favorite superhero film of 2012, but damn, it sure gave those Marvel guys a run for their money.

Batman Begins: C
The Dark Knight: B
The Dark Knight Rises: A

I spent the last few weeks of 2012 doing an insane amount of movie-watching. That means I’ve been ignoring more important tasks like surfing the Internet, blogging and shaving. Sometimes, life just throws you a few curveballs. You just gotta go with the flow, man.

That being said, these are the last 20 films I’ve seen in 2012.

Happy New Year!

Wreck It Ralph (2012)
A spirited, joyful experience. By far the best animated experience I’ve had in 2012. It’s almost Pixar-at-its-peak quality, but nevertheless, Disney strikes again. A-

The Best Exotic Marigold Hotel (2012)
A group of British seniors retire to India to live out their golden years. Loved this cast. Judi Dench, specifically, is just remarkable. It’s a simple, straight-forward dramedy that won’t win any awards but it sure charmed the hell out of me. B+

Battleship (2012)
I wanted to dig this one. Peter Berg makes fun films. He even recruited some of his Friday Night Lights vets (Taylor Kitsch, Jesse Plemons). But what a dumb, dumb plot. Nothing in this film made a lick of sense. D

Brave (2012)
Brave is a sweet family film about a Scottish princess who must undo a curse that turned her mother and brothers into bears. Not Pixar’s finest, but a really solid entry in the massive, ever-growing Disney canon. B

The Amazing Spider-Man (2012)
Wholly unnecessary but delicately crafted action blockbuster pits a game Andrew Garfield’s Peter Parker/Spider-Man against Rhys Ifans’s Curt Connors/Dr. Lizard. Marc Webb spins a slick and fairly entertaining piece of pop. B-

Perfect Sense (2012)
My fascination with Ewan McGregor continues with this odd and intriguing drama about how our five senses are so integral to our everyday lives. Sure, it’s a bit obvious but director David Mackenzie crafted a unique and absorbing picture. B

Moonrise Kingdom (2012)
I just can’t get into the mind of Wes Anderson. I find his films very difficult to penetrate. Moonrise Kingdom is actually his most accessible work to date but I still cannot get past the preciousness of his tone. There’s genuine charm in some of these frames but not enough to win me over. C

Life of Pi (2012)
Life of Pi will be yet another one of Ang Lee’s pictures on my year-end list of favorites. I just adored this fantastical journey about a young man who is stranded at sea with a Bengal tiger. The 3D is astonishing and the frames continue to linger on my mind even weeks later. A-

Flipped (2010)
A sweet low budget Rob Reiner family dramedy about a young boy and a young girl who grow up together as friends, despite their true feelings being hidden from one another. The great cast, including John Mahoney, Aidan Quinn, and Penelope Ann Miller, elevate this plain-spoken film to something kind of sweet. B

Seeking a Friend for the End of the World (2012)
I had an unusual reaction to this film. The tone was all over the place — it was a dead serious broad comedy with a typical romantic arc that kinda dragged down the whole affair. There’s a lot here that I liked but there’s also lot I didn’t. C+

The Queen of Versailles (2012)
Man, the things some people do just boggle the mind. This doc is disturbing in a lot of ways but it’s also a fascinating “riches to rags” story that made me glad I’m not a billionaire. Money. Who needs it? A-

The Expendables 2 (2012)
Just as ridiculously fun as the original. These generic shoot-em-ups are direct-to-VHS quality right out of the 80s and that’s its appeal. They don’t try to be anything more. Schwarzenegger is terrible but he does have a few good zingers (“This car is as big as my shoe!”). B

Magic Mike (2012)
After this and Haywire, Soderbergh is having a banner year. Both films are stylish and fun, and Magic Mike features really strong work from McConaughey, Tatum, and especially newcomer (to me, anyway) Cody Horn. Loved it. A-

Hope Springs (2012)
Despite its pedestrian direction and clunky screenwriting, Hope Springs has some painful truths about marriage without the sparks. Tommy Lee Jones and Meryl Streep, old pros who still “got it,” elevate the film from drowning in hokiness. B-

Rock of Ages (2012)
Atrocious, putrid and insanely dull, Rock of Ages is a complete failure in every way. I love this cast, but everyone is so over the top in smarm and hamminess that I wondered if they knew what the hell this movie was all about. The young leads had zero charm and personality. I rarely give out F’s, but I can’t think of a more likely contender. F

Your Sister’s Sister (2012)
I loved this movie. I was weary of how they were gonna handle the big secret presented almost midway in the film, but I was so surprised at how delicate the writing and performances were. You can pretty much predict how it all wraps up but everything was just beautifully handled. All three actors – Mark Duplass, Rosemarie Dewitt and Emily Blunt – are exquisite and absolutely perfect. A-

Men in Black III (2012)
Jones again, strangely looking a decade older than he did in Hope Springs. This time, he takes a backseat to let his younger doppelgänger (Josh Brolin) entertain the hell out of us with his dead-on Jones impersonation. I don’t have much of an opinion of the first two Men in Black films – I liked them enough, I suppose, but don’t remember squat about ‘em – but this one was surprisingly a lot of fun. Smith, especially, as is spry and funny as ever. B+

10 Years (2012)
Channing Tatum concludes his impressive 2012 bid for stardom with this low-key drama about a 10 year high school reunion that brings back a flood of memories for a group of once-close friends. The cast is huge and full of talent, but the standouts are Kate Mara, Oscar Isaac and Rosario Dawson. Not great but engaging and kind of sweet. B-

Sleepwalk with Me (2012)
I had never seen anything from Mike Birbiglia until a few days ago when he showed up briefly in Your Sister’s Sister, but I had heard about his breakthrough comedy earlier this year. I wasn’t all that impressed with Sleepwalk with Me but I do find Birbiglia appealing and even a little insightful. And any film that has a juicy part for perennially underused Lauren Ambrose is automatically worthy a look. C+

Take This Waltz (2012)
A challenging indie that takes bold steps in presenting a love story we’ve seen before countless times. Director Sarah Polley lovingly directs Michelle Williams (who I just adore) as a woman who is torn between a stubbornly comfortable marriage and an exciting affair with a neighbor. There are too many missteps along the way for me to like this film overall (for example, Sarah Silverman’s entire arc, especially in the lay-it-on-thick climax, rang completely false), but I dug the three lead performances and the film’s attempt to show us the intimacy of a marriage. C+

Take Me Home (2012)

Written and Directed by Sam Jaeger

Ever just glance at Netflix’s home screen, find a title you’ve never heard of and become intrigued by its story and pedigree? That’s exactly what happened with Take Me Home, a ridiculously low-budget indie that was written and directed by Parenthood‘s Sam Jaeger. I just love Jaeger on this show; he’s underused but shines brightly in that show’s cast of greats. Who knew he was an aspiring filmmaker? Take Me Home is his first feature and an assured one at that. Jaeger also stars in it, playing a jobless man who loses his home after being unable to pay the bills. He heads into his car, which doubles as a fake taxicab, picks up a stranger (played by Jaeger’s real-life wife, Amber Jaeger, a real discovery), and they head on a life-changing journey across the country. Yes, it’s completely improbable, but its heart is in the right place. Take Me Home is funny and sweet, well worth a look for fans of Jaeger’s undeniable charm. He may just be the one to watch for when Parenthood closes shop for good. Available on Netflix Instant. B+

The Way (2011)

Written for the Screen and Directed by Emilio Estevez

Another film about a long soul-searching journey across miles of beautiful country. Martin Sheen, always a pleasure, is reliably great as a man mourning for his only child by completing his son’s pilgrimage along the El Camino de Santiago. Emilio Estevez, a writer/director who never gets enough credit as an actor or filmmaker, surehandedly leads us on an engaging journey that deeply resonates. “There’s a difference between the life we live and the life we chose.” Beautifully done. B+

Pariah (2012)

Written and Directed by Dee Rees

After huge buzz from Ebert and other notable critics, I was expecting something pretty great here. What I discovered was a very small film with a big heart and a lot of mediocrity. This cast of unknowns mostly failed to move me but I don’t entirely blame this group of actors (who are clearly not professional). I blame the script, which relies on too many familiar tropes of screenwriting (stern father overcomes ignorance, girl confides her trust in best friend only to have it betrayed, etc). I appreciate movies of this kind, especially with a heroine as unique and beautiful as Alike, but not in a second-rate production like this. C+

Flight (2012)

Written by John Gatins | Directed by Robert Zemeckis

Welcome back, Mr. Zemeckis. This man is one of my favorite directors. I embraced his return to live-action filmmaking after a decades-long absence as if it were a true cause for celebration. The film didn’t let me down. It’s a searing portrait of a man’s descent into isolation. Whip is an alcoholic and drug addict — though a “functioning” one — and after a terrifying ordeal in the skies, he begins to unravel. The lies upon lies began to weigh in on his psyche. It’s a beautiful, layered performance from Denzel Washington, one of his best roles. He is supported by the terrific John Goodman as his enabling buddy, Bruce Greenwood as his exasperated colleague and Don Cheadle as his sneaky, though impatient, lawyer. Zemeckis shows his amazing astuteness as a filmmaker yet again. And, yes, that’s cause for celebration. A-

Snow White and the Huntsman (2012)

Written by Evan Daugherty, John Lee Hancock, and Hossein Amini | Directed by Rupert Sanders

I had no desire to see this one but I threw it in the queue anyway. I’m a big fan of Charlize Theron and heard good things about her here. Not even her intoxicating presence was enough to awaken me from the slumber I was in during this film. It was just rote and by-the-numbers and I really couldn’t muster any excitement for the heroine (even Kristen Stewart, who I actually admire, was phoning it in.) My interest peaked when I saw those great actors portraying the dwarfs, but that was short-lived since they were given very little to do. C-

This is what happens when you watch too many movies and you don’t have time to write out your thoughts about them. Even when I’m taking some self-imposed breaks from blogging, I’m still watching the hell out of my rentals. My Netflix subscription is still paying up dividends. So instead of writing individual posts for these mostly good titles (some actually excellent), I’ll just knock out my two cents buffet style, all you can eat!

In other words, these are quicker Quick Takes.

Project Nim (2011)
Enlightening, absorbing documentary about an chimp’s upbringing in a human household in the 70′s. The purpose of this controversial experiment was to prove that a chimpanzee can communicate like a human if raised and nurtured as if it were a human child. The results are both unsettling and highly revealing. B+

Friends with Kids (2012)
A pretty decent comedy-drama that boasts a large cast of talented actors in roles suitably tailored to their strengths. Writer/Director Jennifer Westfeldt has a strong ear for dialogue that resonates. B-

American Reunion (2012)
A sequel that I anticipated but walked away feeling ambivalent about it. For one, it was great to see everyone. I’m a fan of the first two American Pie films (Wedding was meh), but was a bit disappointed that they didn’t bring back the funny. Still, nostalgia counts for something. But is it enough? C+

Wanderlust (2012)
I just love Paul Rudd. Every time I look at this guy, I laugh. He’s naturally funny to me. Wanderlust succeeds mostly because of him and his terrific supporting cast, including Joe Lo Truglio, Justin Theroux and Jennifer Aniston (as pleasant as I’ve seen her in years). Director David Wain has serious editing issues, as usual, but the laughs are there. B

Haywire (2012)
A wonderful surprise. Haywire is a spare, exciting thriller that flies completely under the radar. It’s like a hulking summer blockbuster that doesn’t feel the need to draw attention to itself. Gina Carrano (a terrific discovery) kicks Michael Fassbender’s ass, screws Channing Tatum, pummels Ewan McGregor and walks away virtually unscathed. Soderbergh’s most enjoyable film in years. A-

Paper Man (2010)
I sought this out for one reason and one reason only: Jeff Daniels. After his blistering performance in The Newsroom this summer, I wanted more of him. I just want Jeff Daniels all the time! But… not in movies like this one. Slow, too offbeat for its own good, and not weighty enough to be taken seriously, Paper Man is a misfire despite the presence of Daniels, Ryan Reynolds and Emma Stone. A waste. D+

Salmon Fishing in the Yemen (2012)
McGregor again (I can watch this guy every week, ya know?), this time as a contractor (of sorts) who arranges to transport salmon from his country to the desert at the behest of a rich sheik. Emily Blunt is the consultant who helps make it happen and, of course, romance ensues. I love the tone of the film, the display of faith and how these people attempt to fulfill their dreams against the odds. The romance part? Meh. Didn’t feel quite right. But it’s an unusually charming little film. B-

The Hunger Games (2012)
I had no desire to see this one for a long time. I gave it a shot during an overlong commute and just dug the hell out of it. A film told with surprising depth and skill (by Gary Ross, a filmmaker I’ve admired for years). Jennifer Lawrence raised eyebrows with her Oscar-nominated performance in Winter’s Bone, which was a decent film, but her talent is on a much broader display in this action-packed, visceral thriller. After the trashy cinematic treatment of the Twilight films, young adult readers should be very pleased with this adaptation. B+

The Grey (2012)
Another thriller that had me firmly in its grip. Liam Neeson’s amazing transformation from character actor to action star continues with stunning results. The Grey is simple, straight-forward and does not pretend to be more than what you see. I had a blast watching these characters get picked off, one by one in typical horror film fashion, until we reached the startling conclusion where I found myself completely frozen in terror. It still sits with me to this day. A-

Bernie (2012)
One of the best films of the year, and that comes as a huge surprise for me. I had no desire to see this film when it was released. The truth is, I knew nothing about the film and Jack Black never really impressed me. I blindly gave it a shot and not a minute was wasted in this sublimely entertaining character piece from the ever-versatile Richard Linklater. It helps when you have no clue who Bernie Tiede is. I was drawn into this delightfully absurd true story of a man who charms the hell out of everyone in Carthage, TX. But one guy, as played with gusto by Matthew McConaughey, does not like him one bit. It’s the best thing I’ve ever seen from Jack Black; his performance alone makes Bernie something really special. A

Arbitrage (2012)
Man, Richard Gere is aging so well. He’s fantastic in this slow-burn thriller about a morally bankrupt magnate whose world comes crumbling down. Can he keep it together? You wonder as you watch Gere snake his way out of shady business dealings, an affair, an accidental death, and a falling empire in which he built. The supporting cast (including Susan Sarandon, Tim Roth, Nate Parker and Brit Marling — all outstanding) gives the film a lot more layers than you’d expect. Wonderfully done. B+

I Don’t Know How She Does It (2011)
My wife – a fan of these types of rom coms – had this on the TV while we were folding laundry one night. I had no desire to see it. Ever. But she had the remote and she was in control. So what happened? Well, we finished folding the clothes and yet we continued to watch the film. I was inexplicably drawn to it. I kept saying to myself — you are not supposed to like this, dammit!! And screw it all to hell, I did like it. It was earnest, charming and good-natured. Its blandness actually worked for it, not against. I don’t know how it did it, but this one kinda worked for me. B-

Get the Gringo (2012)
Oh, Mel. You are still a charming, crazy-eyed presence in films these days. You still have that movie star charisma. But your taste in projects lately (The Beaver notwithstanding – I actually dug that flick) has left me cold. Get the Gringo is absurd, nonsensical (it takes place in a prison… that doubles as a shopping mall) and is just oddly flat. It was noisy and people got beat up real good, but ya know, sometimes that’s just not good enough. C

A Separation (2011)
A grueling, emotional drama in which a couple’s marital separation evolves into a complex web of misunderstandings, guilt and controlled anger. This superb Iranian drama gives us a peek into the lives of deeply religious people who only want to do what’s right. Heartbreaking stuff. A

The Raid: Redemption (2012)
The plotless Indonesian thriller has major, major cajones. It’s one of the most propulsively violent films I have ever seen. I don’t enjoy violence for the sake of violence, but director Gareth Evans brings us a unique vision that makes his violence appear balletic in nature. He is the next generation’s John Woo. This dazzling display is certainly hollow inside, but man, it’s a thing of beauty. B+

I love this guy. Always have. Even when he was playing Tommy Solomon in the kitschy sitcom Third Rock From the Sun, I thought the kid had tremendous talent. I’ve followed him through his whole movie career, blown away by his daring choices (Mysterious Skin, Brick) and charmed by his affable presence (as noted on SNL, in 500 Days of Summer). I just showcased 10 Things I Hate About You this week, my favorite teen comedy that happens to feature Gordon-Levitt at his most endearing.

Needless to say, Gordon-Levitt is hitting the big time these days. By a simple twist of fate, I had the pleasure of seeing three of his latest works in the span of a very short time. Sure, one of them sucked hairy monkey balls, but Joseph Gordon-Levitt still remains a force to be reckoned with.

**LOTS OF SPOILERS BELOW!**

Premium Rush (2012)
Written by David Koepp and John Kamps | Directed by David Koepp

In Premium Rush, Gordon-Levitt plays a New York City bike messenger who gets caught up in a bit of a kerfuffle. A valuable ticket needs to be messengered from uptown to downtown and there’s a shady cop (Michael Shannon) looking to retrieve it in order to settle his own gambling addiction. The plot is hackneyed and really corny (it involves the illegal transportation of an Asian kid across the sea) and the ticket only serves as a MacGuffin. It’s a plot device orchestrated for the mere purpose of filming a bunch of athletic people on a bike in Manhattan. It’s a good thing Koepp films these sequences with a sense of urgency and a great amount of humor. The film runs at a brisk 100 minutes and doesn’t overstay its welcome.

Shannon has his fun moments as the crooked cop with a crazy temper, but it’s really Gordon-Levitt’s show. He makes a convincing action star.

Hesher (2011)
Written by Spencer Susser and David Michod | Directed by Spencer Susser

Joseph Gordon-Levitt also makes an interesting asshole, as personified in Hesher, an ugly drama about a broken family who gets a surprise when a homeless drifter crashes their house and wakes them up from their mournful stupor. This setup alone makes it so impossible to care about what happens in this film. I just cannot buy this sort of thing ever happening anywhere. Ever! He plays an obnoxious half-naked stoner with nuggets of wisdom (“You lost your wife. You lost your mom. I lost my nut.”) and this family just lets him hang around. I know they’ve suffered a terrible loss but neither of them were lobotomized and should still be able to avoid making ridiculously careless decisions.

Then there’s Natalie Portman popping up as a nerdy, simple young woman who connects with both the dopey kid as well the aggressively arrogant Hesher. Her character was introduced as a sort of major player in the beginning of the film but then became nothing more than just a plot device to drive the kid apart from Hesher during the third act, which the writers then knew they had to figure out a way for Hesher to make a grand exit so the family can be “whole” again.

I admire Gordon-Levitt’s complete metamorphosis here; he plays against type very well and shows tremendous range as an actor. It’s just a shame that the character is so poorly written (as is the rest of the film).

Looper (2012)
Written and Directed by Rian Johnson

Now, when Joseph Gordon-Levitt gets involved with a great writer/director in a high concept thriller (see also: Inception), not surprisingly he fits right in. He’s fantastic and barely recognizable as young Joe, a selfish loner who gets paid a lot of money to kill people from the future. When his future self, old Joe (Bruce Willis), arrives to young Joe’s present to do some major course correction, young Joe is conflicted. Should he stop his future self from wreaking havoc with his life or trust his own future instincts?

Time travel is one of my favorite components in a story, whether it drives films (Back to the Future), TV shows (Lost) or novels (The Time Traveler’s Wife). I’ve always thrived on picking apart the complexities of such a fantastical concept. Looper is right up my alley. Rian Johnson has crafted a fresh, exciting tale that’s not just about time travel. It’s really a film about choices and how people change over time. There’s very little of actual traveling through time. Looper is a smart thriller where the bad guy gets killed off-screen; it’s not bound by the conventions of your average storytelling. Joe, in both incarnations, is a good person and a bad one. Young Joe tries to protect Emily Blunt’s kid; the older Joe – driven by a rageful vengeance – tries to kill him. It’s all heady, thoughtful stuff.

Back to Gordon-Levitt. The makeup is a distraction at first. But after several minutes, it was no longer an issue. I bought his character; Joseph Gordon-Levitt became Young Joe. I was completely sold on the fact that he and Bruce Willis were one and the same. Remember when Eric Stoltz donned that horrible face in Mask back in 1985? It’s the same visceral reaction: when it was over, I had to remind myself that I was watching Eric Stoltz. For Looper, Gordon-Levitt delivered a really beautiful, subtle performance here, another reminder that he’s one of his generation’s best actors.

Premium Rush: B-
Hesher: D
Looper: A-

Chronicle (2012)

Written by Max Landis
Directed by Josh Trank

The superhero genre has grown exponentially in the past decade. We’ve seen countless comic book adaptations and their sequels, all with various degrees of success and failure. It’s easy to fall into superhero fatigue, especially at the end of every summer.

But this one bucked the trend a little bit. Chronicle is a clever, fun parable about a group of kids who discover something ominous underground and walk away with powers beyond their wildest dreams. It’s what they do with these powers that makes Chronicle a stand out. Kids being kids, they pull pranks, show off and use their newfound skills for self-gain. But how far is too far? The film insightfully explores this dark territory, giving our characters surprising emotional depth and clarity. The film took risks and I admired the hell out of Landis’s terrific script and Trank’s sensitive handling of it.

The cast is mostly unknown, except for Michael B. Jordan (as Steve) who is popular in my home having starred in TV’s Friday Night Lights and Parenthood. There’s no weak link here, as each actor is given the ability to shine.

Chronicle is fresh and fun, the perfect antidote to shake off some of that superhero fatigue.

A-

Jeff, Who Lives at Home (2012)

Written and Directed by Jay and Mark Duplass

Jeff, Who Lives at Home is a small, intimate film about a family floating in different directions in life, unhappy, insecure, indifferent. It’s like they are just waiting around for their lives to kick into gear. Susan Sarandon is the mother, and Jason Segel and Ed Helms are her two grown sons.

This type of movie is right up my alley. I was anticipating this for some time now.

And yet, it didn’t work for me at all.

Segel and Sarandon are perfectly pleasant and charming here, but whenever Helms shows up and does/says something stupid, the film grinds to a halt. Whenever the plot depends on sloppy coincidences to bring our family together, my heart just sinks. And don’t get me started with that maudlin climax. Those tears were not earned. Every emotion was forced, fake and false.

For a play on alliteration, this is the perfect opportunity to slap this film with an F, but I can’t bring myself to do it. Segel and Sarandon are just too good. Segel brings a sweet naïveté to his role as a simple man in need of some guidance. I’m a longtime fan of his, and he can clearly carry a film. And Sarandon, lovelier and graceful than ever, kind of feels like she’s in an entirely different movie. Her office romance felt as contrived as the rest of the film, but the camera simply loves her. She’s so easy on the eyes.

So thank Segel and Sarandon, breaths of fresh air, for keeping Jeff, Who Lives at Home from completely sinking to the bottom of the bay.

C-

The Future (2011)

Written and Directed by Miranda July

It’s been a long six years since Miranda July wowed me with her feature debut, Me and You and Everyone We Know. I had been greatly anticipating her next big-screen project. The Future arrived with lesser fanfare and mixed reviews. And having just viewed it, I can see exactly why.

The Future is far less accessible than her previous film. Complete with a scratchy, cutesy voice, July narrates some scenes from the perspective of a to-be-adopted cat. Also, her character is followed by her favorite yellow t-shirt. Hamish Linklater, who plays July’s boyfriend, stops time and has a conversation with the moon. Yes, Me and You and Everyone We Know wasn’t exactly conventional, but July goes much, much further off the reservation with The Future. I know July doesn’t do strange things for the sake of being strange. I believe she finds truth and meaning in the smallest, oddest things in life. She’s an artist; she makes bold choices, broad strokes and doesn’t fall victim to average or typical storytelling. In fact, I love this about her. She’s a brave, beautiful soul, and I’ll watch anything she does. There’s simply no one like her at all. Even if I don’t quite get what she’s doing, I know I’m getting something completely original and thoughtful with her.

I can’t recommend The Future to casual moviegoers, but die-hard fans of her first film will surely take away something positive from this viewing experience. They may even be charmed by it as I was.

B-