December 13, 2012 · 11:00 am

38 Highlights of 2011

David Fincher made me finally appreciate The Girl with the Dragon Tattoo. The books were tepid. The Swedish films were muddled. Fincher took the crucial elements, assembled a marvelous cast, infused his magic and got it absolutely right.

TINT_herosSteven Spielberg, one of the most acclaimed directors of our time, still doesn’t get enough credit. He directed the hell out of a great motion capture film this year and no one saw it. #Tintin

Speaking of motion capture, somebody give Andy Serkis an Oscar! His “performance” in Rise of the Planet of the Apes in nothing short of chilling.

Armie Hammer’s makeup in J. Edgar is pretty god-awful.

I love being proven wrong. I thought I’d hate it, but I actually loved Warrior.

I hate being right. I didn’t think I’d like Melancholia and, well, I didn’t like it. At all.

After seeing We Need to Talk About Kevin, I had the strongest desire to find someone – anyone – and talk about We Need to Talk About Kevin.

I don’t care what Tom Cruise does in his personal life, but I hope he never, ever stops making movies. #GhostProtocol

I don’t care what Mel Gibson does in his personal life, but maybe he oughtta disappear for a while.

Every time I see Glenn Close in something, I keep thinking she’s a man. Thanks, Albert Nobbs.

matt-damon-contagionMatt Damon just continues to bring it, doesn’t he? Even though We Bought a Zoo, Contagion and The Adjustment Bureau were not exactly masterpieces, he carries these films remarkably well.

Vin Diesel and Paul Walker can continue making as many Fast and Furious movies as they want to — as long as they are as fun as Fast Five.

They can keep making as many Paranormal Activity films as they want to — as long as they are as scary as #3.

It’s time to stop the Final Destination films.

Michael Fassbender is pretty fucking amazing in everything he does. How is that even possible?

Rampart and Margin Call had two things in common. One — they had killer ensembles. Great actors just tearing it up in bit parts. And two — they are both little seen, underrated and goddamn fantastic.

You don’t need a lot of money to make a film come alive before your eyes. Evidence: The Myth of the American Sleepover, Martha Marcy May Marlene, Terri, Weekend, Shame, Meek’s Cutoff

I still don’t like Kate Hudson.

Contagion made me afraid to touch anything. For about 10 minutes.

charlize-theronCharlize Theron, arguably the most beautiful actress working today, is so damn amazing at playing ugly. #YoungAdult

Vera Farmiga is more than just a phenomenal actress. She is transcendent in front of the camera and behind in Higher Ground.

Justin Timberlake and Mila Kunis had undeniable, sizzling chemistry in Friends with Benefits. Who knew?

Remember Super 8? Me neither.

I keep waiting for Harrison Ford to make a huge comeback. Cowboys & Aliens didn’t even come close. Someone get him a new agent, please.

After over 10 years of making mostly very crappy movies, Shawn Levy finally struck pay dirt with Real Steel. It’s no classic, but it’s a damned good time.

You is kind. You is smart. You is important.

Sad that Scream 4 played it safe.

Even though The Future wasn’t quite the success I had hoped, I still cannot wait to see what Miranda July does next.

Look, I didn’t know what I was watching half the time, but I’m damned glad I experienced The Tree of Life.

John_GoodmanBiggest comeback story of 2011? After being off the grid for a while, John Goodman did season-long arcs in Treme and Damages, and popped up in a Best Picture nominee (Extremely Loud and Incredibly Close) and winner (The Artist). Plus, he voiced a character in a kids movie (Happy Feet 2) and a video game (The Rage). Plus (!) he was the best thing about Red State. And dammit, he showing no signs of slowing down in 2012. Dan Connor rules my world, man.

Life in a Day. Being Elmo. Project Nim. Bill Cunningham New York. It was a good year for docs.

Remember when Rachel McAdams had so much promise? Damn.

The final scene in Take Shelter is beautifully ambiguous.

The final scene in The Skin I Live In is unexpectedly heartbreaking.

The final scene in Transformers 3: Dark of the Moon is sweet, sweet mercy.

Dueling Michael Caine impersonations are a hell of a lot funnier than one might think. “She’s only 16 years old!”

Pixar’s perfect run ends with a mildly enjoyable though completely unmemorable sequel to Cars. Hate to say it, Pixar, but Rango, Winnie the Pooh and The Adventures of Tintin were all superior in 2011.

Those muggles had a helluva run, didn’t they?

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December 12, 2012 · 11:20 am

Underrated Performances of 2011

I may be late in the game, but it’s time for me to close the book on 2011. While some folks are already editing their lists for 2012, my celebration with 2011 is now underway. The unsung performances of the year are first. Then I will celebrate the moments that surprised and thrilled me this year. And finally, I will select my favorite films of the year.

Rather than highlight simply the “best” performances I’ve seen this year, I choose to celebrate the underrated ones because these are the folks who made me laugh or smile or cry or cringe all throughout the year, and yet, neither one of them were singled out for their exceptional work. No acting nominations this year among any of them. You’ll note that I didn’t mention the obvious omissions, like Michael Fassbender in Shame, Ryan Gosling in Drive or, most glaringly, Tilda Swinton of We Need to Talk About Kevin. They were all snubbed and we’ve all rightfully bitched and moaned about them.

But what about these guys?

Bobby Cannavale as Terry Delfino in Win Win
This guy never fails to charm the hell out of me. I’ve been a fan of his for many years (he killed it every week on Will & Grace – remember that?), and I’m always happy when he pops up in a movie or TV show. Win Win was no exception. This beautifully thoughtful dramedy is another winner for Tom McCarthy and actor Paul Giamatti. Cannavale scores the biggest laughs as Giamatti’s overeager best friend Terry who enjoys his volunteer gig as assistant coach a little too much. Not that McCarthy’s droll film needed it, but Cannavale gave Win Win a real burst of energy and charisma.

Kristen Wiig as Ruth Buggs in Paul and Annie Walker in Bridesmaids
The lovely Wiig had a huge year. Her departure from SNL was bittersweet — she was a bright spot on that show but she is so talented that other projects demanded more of her skills. In fact, we demanded it as audience members who crave for talented actresses who can pull off such range as Wiig has done so far in her young blossoming career. Bridesmaids was a high-profile hit for her. It’s a bawdy, funny film and she blended in well with this ridiculously gifted ensemble. But for me, it was her performance in Paul that affected me the most. I think the film is actually funnier and sweeter than Bridesmaids, but Wiig alone was so intoxicating as Ruth Buggs, a religious zealot who gradually changes her faith as she becomes a victim of a kidnapping (of sorts) by a group of nerds that hang out with an alien. Paul is outrageous, and Wiig is the film’s heart and soul.

Saoirse Ronan as Hanna in Hanna
Saoirse Ronan’s performance as the kick-ass Hanna is the most commanding work by a young actor I have seen all year. Before Jennifer Lawrence donned the bow and arrow as Katniss Everdeen, Ronan represented this latest surge of “girl power.” The film’s story is deceptively simple – girl becomes trained killer, uses her skills when rogue agents go after her father – and Hanna is Joe Wright’s best film in his young career so far. Ronan has a lot to do with it. Hanna is fiercely independent, adapts well in new environments and is unafraid to show her true feelings. She is still a teenage girl, after all. Remember her name and learn to pronounce it correctly, because Saoirse Ronan is going to be around for a long, long time.

Philip Seymour Hoffman as Art Howe in Moneyball and as Paul Zara in The Ides of March
moneyball_05There is a scene towards the end of The Ides of March when Philip Seymour Hoffman is outside smoking his cigarette. A car pulls up and George Clooney invites him in. The camera stays outside of the car; we don’t see or hear anything that happens inside. After about 30 seconds of agonizing silence, Hoffman climbs out of the car and the car pulls away. Hoffman just stands there and says nothing. But does he need to? We understand precisely what just went down and his face is telling us a million things. You know exactly what he’s feeling. That’s Philip Seymour Hoffman to a tee. His two roles this year had one thing in common – he was a pushover. He had firm beliefs, he had strong ideas what was right and what needed to be done. But Clooney’s Governor Mike Morris and Pitt’s Billy Beane went right over his head. See, no one plays the pushover type better than this guy.

Bryan Cranston as Shannon in Drive
When I saw Drive earlier this year, it was before I had seen a single episode of Breaking Bad. So while Walter White was a name I was not yet familiar with, I knew of Bryan Cranston from other various projects. His uncanny performance in Drive really jumped out for me. It was the performance of a true character actor. He had the limp, the tough guy demeanor, the in-over-his-head attitude and that fatherly glint in his eye. He was a nicely rounded character, that Shannon. And when his character met a tragic, untimely fate, my heart sank. I felt the loss of his character. I felt tremendous sadness. And that, my friends, is the mark of a great performance.

Thomas Horn as Oskar Schell in Extremely Loud and Incredibly Close
He is supposed to be unlikable. That’s what I always say when someone tells me that they didn’t like the film because the kid was so irritating. Yes, that’s how he was written and Thomas Horn, who amazingly had no acting credits before this one, just nails the portrayal of a kid with highly unusual sociological behaviors. Oskar Schell is clearly inflicted with some form of autism (which the film offhandedly mentions but never really fully explains), and Oskar is a very difficult boy with a mind that is nearly impossible to penetrate. When tragedy strikes, he behaves in such a way that is highly unusual but yet oddly empathetic. Extremely Loud and Incredibly Close is one of my favorite films of the year, and Horn’s indelible performance is one of the main reasons why.

Leonardo DiCaprio as Hoover in J. Edgar
Clint Eastwood’s J. Edgar is a mess of a film. A lot of it doesn’t work, but what does work is Leonardo DiCaprio’s heartfelt performance as the enigmatic director of the FBI. DiCaprio has always been such a great actor; since What’s Eating Gilbert Grape, he has consistently proved to us that he is undeniably one of our best performers today. He so completely disappears inside that garish makeup to play this complex character; not for a minute did it feel like I was watching DiCaprio act. I wonder if J. Edgar were a better film, DiCaprio would have gotten his due for this terrific performance.

John C. Reilly as Dean Zeigler in Cedar Rapids, Franklin in We Need to Talk About Kevin, Mr. Fitzgerald in Terri and Michael in Carnage
The always great Reilly scored in four fantastic roles that couldn’t be any more wildly different from each other. You want to see range? Check out Reilly’s work in 2011. In the funny Cedar Rapids, he plays a childish insurance salesman who becomes unlikely friends with the sincere Ed Helms. At first, Reilly seemed to be channeling his outlandish work from Stepbrothers or Walk Hard, but Dean turns into a guy with a soft, chewy interior. It’s an endearing performance, a major highlight of a sweet film. In We Need to Talk About Kevin, his subtle, extremely low-key portrayal as husband of Tilda Swinton’s conflicted Eva is something of revelation for Reilly. He’s reserved, almost walking on eggshells as he attempts to restore balance and stability in a volatile household. As principal Fitzgerald in the engaging indie, Terri, Reilly is at his immensely likable best. Fitzgerald is a human being, as flawed as the rest of us, and you are convinced that he really wants to be your friend. Sounds like the John C. Reilly we’ve come to know and love after all these years. And finally, Reilly is so great as the passive-aggressive Michael in Roman Polanski’s so-so dramedy Carnage. He stood out among this cast of great actors playing a man who is just tired of being polite all of the time. Does he love his wife? Sure. But man, does he have a bone to pick with her or what? A painfully funny performance that comes from a place of real truth.

Ewan McGregor as Oliver Fields in Beginners
I’ve been watching Ewan McGregor for many years now and I’ve always liked the guy. I thought he was a solid actor who usually selects interesting and offbeat projects. I began to appreciate him more after the remarkable one-two punch of I Love You Philip Morris and Ghost Writer, but it wasn’t until I saw Beginners when I realized, “Wow. This guy is pretty damn special.” And thus, a man crush was born. In Beginners, he plays Oliver Fields, a guy whose distant relationship with his father is blamed for his failed romances. When he learns that dad is not only gay but also dying, he is forced to take a closer look at himself. I adored this film and especially the fantastic well-rewarded performance from Christopher Plummer. But McGregor here is just as good, if not better. The range and complexities of Oliver’s emotions are on full display and it’s a heartbreaking and inspiring performance. He has shown so much depth as an actor here that gives me a whole new level of respect for him. He has officially transformed himself from being that interesting guy in interesting films to one of my favorite actors working today.

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December 7, 2012 · 5:45 pm

Quick Take Five: Take Me Home, The Way, Pariah, Flight and Snow White and the Huntsman

take-me-home-posterTake 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-wayThe 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+

 

pariahPariah (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+

FlightFlight (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 whiteSnow 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-

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October 24, 2012 · 11:05 am

Mini Quick Takes

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+

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October 17, 2012 · 11:40 am

Quick Takes: Joseph Gordon-Levitt (x3)

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-

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October 15, 2012 · 11:15 am

Monday Movie Showcase: 10 Things I Hate About You

10 Things I Hate About You (1999)

PLOT
In this modern-day adaptation of Shakespeare’s Taming of the Shrew set in a high school, Kat (Julia Stiles, the shrew in the title) is unpopular, not very nice, and prefers to stay that way. But when Patrick Verona (Heath Ledger), with ulterior motives, tries to charm her out of her bitchy ways, they end up (surprise!) falling for each other.

WHY I LOVE IT
“I burn, I pine, I perish.”

In the late 90′s there was a gluttony of teenage comedies. They all sucked. Except this one. A ray of sunshine amidst a sea of dreck, 10 Things I Hate About You has surprising depth, a myriad of breakout stars and more laughs than any comedy released that year.

Let’s talk about the stars. We all had heard of Heath Ledger and Julia Stiles when this was released, but this is where people finally took notice. They both oozed charisma (admittedly, more him than her), and they both carved very respectable career paths since then. Ledger – like the late River Phoenix before him – was a hot flame of talent and acting chops before he left us too soon. Here he was arrogantly charming – it was as if he was forcing us to like him even though he really didn’t have to. He already had us at hello. Stiles had some strong projects in her career and became a respected young actress, but her Kat Stratford is still her best work. Teen angst has been done to death in cinema for years and years, but her Kat is a delightful bitch that we’d love to spar with (“Remove head from sphincter, then drive!”).

Also making huge impressions here are Joseph Gordon-Levitt in a big role that should have made him a star. He’s so genial and charming as Cameron, the young lad who had fallen for Kat’s dreamy sister Bianca (played by the absolutely adorable Larisa Oleynik). Throw in the hilarious David Krumholdtz as Cameron’s clueless best buddy (“I have a dick on my face, don’t I?”), Larry Miller as Kat and Bianca’s sweetly overprotective father (who makes his daughters wear a pregnancy suit before their dates to keep them from having sex) and the great Allison Janney as a principal in the midst of penning a racy novel (“Bratwurst? Aren’t we the optimist?”).

I’ve always stated that 10 Things was my rainy day movie, the one movie I can watch whenever I’m feeling blue. It’s a guaranteed pick-me-up. The screenplay is smart, knowing and frequently hilarious, and while it is certainly as conventional as its counterparts (you know exactly how it will all pan out), it surprises you with its emotional sucker punch of a climax. Kat’s poetry reading in her class is beautifully poignant (“But mostly I hate the way that I don’t hate you. Not even close, not even a little bit, not even at all.”)

I love you, 10 Things I Hate About You. To paraphrase Kat Stratford, you’re not as vile as I thought you were.

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October 3, 2012 · 11:45 am

Quick Take: Chronicle

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-

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