LOCKE - *** (85 minutes)

 

Sunday April 27, 2014

Stephen Knight is best known as a screenwriter, having written scripts for two outstanding films, Dirty Pretty Things (2003) and Eastern Promises (2007).  Here he also grabs the director reins for this minimally constructed movie that carries a powerful emotional punch throughout its taut 85 minutes. 

It is nighttime and Ivan Locke (Tom Hardy) is leaving his job as a construction overseer.  He gets into his car and immediately approaches an intersection where he momentarily ponders whether or not to turn left or right.  We soon learn why he had immense difficulty in making that decision.  Once that turn is made, the film travels his 90 minute route to London, practically in real time, during which a series of conversations and choices will be made that will have incredible implications for every aspect of his life from that point forward. 

It is imperative that, for us to be involved, this actor must have the talent to keep us invested.  In this regard the ruggedly handsome Englishman delivers the goods in spades.  His riveting multilayered performance as a man totally in control of his life only to see it collapse piece by piece, is the glue that keeps this one-man show together.  Hardy shows a remarkable subtle range of emotions that makes it all believable and will have you empathize with his choices and predicament.  And cinematographer Haris Zambarloukos creates a hypnotic swirl of lights and camera angles that helps to create the claustrophobic milieu of a man dealing with extreme drama inside his BMW.

Locke is a kind of gimmicky film that works and that will certainly establish Tom Hardy amongst the acting elite.


  Ivan Locke (Tom Hardy) alone with his thoughts and cell phone





OCULUS - *** (105 minutes)

 

April 9, 2014

 

Bowie Maryland-based writer/director Mike Flanagan effectively expands on his 2006 multi-award winning short about a centuries-old mirror, supposedly housing demons, which wreaks havoc on its owners.  Although this theme has many past cinematic representatives, Flanagan successfully imbues enough originality, and less clichés one would expect in this well-worn genre, to keep one's interest throughout.

 

The film hits the ground running when two young siblings (Garrett Ryan and Annalise Basso) are in the midst of a chaotic domestic episode in which their father (Rory Cochran) is killed by his 10-year-old son Tim (Garrett Ryan).  The scene shifts forward eleven years when the adult Tim (Benton Thwaites) is "cured" and released from a mental institution when he reunites with his sister Kaylie (earnestly played by Kare Gillan of Dr. Who fame). 

Although Tim feels he was responsible for his father's death, Kaylie thinks otherwise.  To emphasize her belief, she reminds him of a pact they made when they were younger-which we quickly discovers involves that mirror and her elaborate plan to destroy it. 

 

Flanagan weaves his tale through continuous flashbacks and flash-forwards that slowly depicts the effect the mirror has had on the lives of this family as well as references to past owners that Kaylie has discovered through her research.  Using minimal gore and fright gimmicks (that can be rampantly found in grade-B horror flicks), the director instead resorts to maximum creepiness to ramp up the suspense in order to keep the audience involved. 

Although the film somewhat loses steam in the final fifteen minutes, his second effort in the horror realm (he directed a small well-received 2012 film Absentia) shows high promise-making Mike Flanagan a name to watch in the future.

UP NEXT:  Tom Hardy's solo effort in Locke 

 

Young Tim (Garret Ryan) and Kaylie (Annalise Basso)

and that evil mirror 

11 years later, Tim (Benton Thwaites) and

Kaylie (Karen Gillan) plan their next action 



BAD WORDS - *** (89 minutes)

 

Tuesday March 11, 2014

 

Guy Trilby is 40 years-old and harboring a deep seated grudge-with a plan for revenge that will stomp on the spelling bee dreams of kids and their parents like a herd of rampaging elephants .  We are first introduced to Guy as he is about to join a bevy of contestants vying to win a regional spelling bee contest.  Although blessed with a photographic memory, his failure to pass the eighth grade is the loophole that allows him to compete. 

 

Along for the ride is a reporter (played hilariously by Kathryn Hahn) who is determined to get to the bottom of Guy's motives-even falling into a sexual relationship when everyday chit-chat fails to get him to reveal his rationale for her story.  (Their intimate encounters are among the movie's most amusing moments.)

 

Although this revelation isn't revealed until the somewhat sappy final reel, the majority of this dark biting comedy is Guy's modus operandi as someone who has total disdain for children and his utter lack of respect for adults and institutions.  Everything politically incorrect is fair game for the foul-mouthed Guy as he proceeds to flatten his competition on his journey to the PBS-televised national Golden Quill competition. 

 

First-time director Jason Bateman shows admirable skill behind the camera while adeptly portraying the lead character with great comic timing and effective understated delivery.  His supporting cast is superb-including the aforementioned Kathryn Kahn, Allison Janey who is in charge of the Golden Quill competition, the wonderful Philip Baker Hall who plays the founding father of the competition, and Rohan Chand as an Indian 10-year-old (whom Guy calls Slumdog) who is the only character that softens the vulgar protagonist.  And first-time screenwriter Andrew Dodge shows solid future promise penning a script that has many more hits than misses. 

 

Although that final reel falls short of what preceded it, the 89 minutes will entertainingly fly by.  However, if you are easily offended and/or disgusted by foul mouthed children, an adult introducing liquor and sex to a pre-teen, or anything remotely inappropriate then by all means look for the nearest Disney flick.  Otherwise, meet Guy Trilby, a dude who makes Billy Bob Thornton's character in Bad Santa seem like Mr. Rogers.

UP NEXT:  Bowie MD director Mike Flanagan's horror film Oculus

 

 Guy Trilby (Jason Bateman) sneers at his competition
 

  Jenny Widgeon (Kathryn Hahn) tries to get to the bottom

of Guy's story



 



2014 POST-AA RAMBLINGS

 

Monday March 10, 2014 

 

THE SHOW (***)

 

Clocking in at 214 minutes, this years 86th version, in this reviewer's mind, was a half star better  than last year-and not because it was a scant one minute shorter.  Overall, host Ellen DeGeneres fared tons better than Seth MacFarlane's lame effort last year.  The comedienne talk show host provided more joke hits than misses while adding some new audience participation winkles that kept the proceedings lighter and looser compared to previous years (more on that below).  Also, most of the acceptance speeches seemed to be shorter and more to the point without being prodded to end by the house orchestra.  Oh, there were the usual screw-ups and missteps that usually occur-which are reasons for devoting  a portion of one's life to watching moviedom's annual pat-on-the-back.  However, overall the telecast was deserving of its viewership of 43.7 million (up 8% from 2013), which is the best since the Billie Crystal hosted show of 2000 which had 46.53 million viewers.

 

With apologies to Sergio Leone, this breakdown will pretty much sum up the event through this reviewer's eyes:

 

THE GOOD

-In general, DeGeneres provided the usual roasting-style patter without pandering to the celebrity audience and kept things moving as much as possible over the 3 1/2 hours.  Her occasional forays into the audience was typical of a talk-show host's antics and was a distinct departure from the usual stiff telecasts of the past.  While her pizza-delivery bit might have gone on a tad too long, she brilliantly incorporated the current social media craze by overloading Twitter with her celebrity selfie photo snapped during the show.

 

-Generally shorter acceptance speeches that only produced one shout-out to the almighty (by McConaughey) who has inched one thank-you closer to Meryl Streep (who received none).

 

-No overblown production numbers this year.

 

-Fabulous impression of Bruce Dern by Jim Carrey. 

 

-Bette Midler's touching, expressive, and beautifully rendered "Wind Beneath My Wings" at the conclusion of the In-Memorium segment was made especially poignant with the too recent demise of Hollywood standouts Phillip Seymour Hoffman and Harold Ramis.  Midler received a well-deserved standing O and was a fitting solemn tribute to the list of talent that preceded it.

 

 -Bill Murray's extra acknowledgment off-prompter to Harold Ramis for his work for Caddyshack, Ghostbusters and Groundhog Day, after Murray handed out the cinematography award .

 

-Pharrell Williams' rousing performance of "Happy" (Despicable 2) which included a jump into the audience and prompting some fine dance moves from Amy Adams, Lupita Nyong'o, and Meryl Streep.

 

-Singer Pink's beautiful rendition of "Somewhere Over The Rainbow" in a tribute to the 75th anniversary of The Wizard of Oz. 

 

THE BAD

-Backup singer Darlene Love proved why she was a backup when she broke off-key into song after the acceptance speech for the documentary 20 Feet From Stardom.

 

-The usual montages.  There was one that was themed about heroes but I have no idea why it was included and seemed to lack cohesion.  The other one about animation was more successful-but barely.

 

-John Travolta's total mangling of Broadway veteran singer Idina Menzel's (who sang the nominated song "Let It Go") name as "Adele Nazeem". 

 

-Presenter Jamie Foxx who is not good at ad-libbing-or whatever he was doing standing next to co-presenter Jennifer Biel.

 

-Mathew McConaughey's glaring omission of mentioning HIV in his acceptance speech-the central theme of The Dallas Buyers Club. 

 

THE UGLY

-The work of Liza Minnelli's and Kim Novak's plastic surgeons.

 

-John Travolta refusing to age gracefully.

 

-Not getting this broadcast at least under three hours.

 

-Ellen DeGeneres in a dress (which she appeared in as Gilda from The Wizard of Oz after Pink's performance).

 

-The pizza party bit.  At first humorous,  someone needed to extend a hook offstage to finally end it.

 

 

NOW . . . THE ANNUAL JAY B CINEMA DIARY AWARDS:

 

THE BIGGEST SURPRISE WINNER

None

 

THE BEST FILM NOT TO WIN AN OSCAR

American Hustle

 

THE MOST NOMINATED FILM NOT TO WIN AN OSCAR

American Hustle (with 10 nominations).

 

THE MOST MEAN SPIRITED JOKE OF THE NIGHT

Ellen DeGeneres calling Liza Minnelli a drag queen and then calling her "sir".

 

FUNNIEST JOKE OF THE NIGHT

Ellen DeGeneres calling Liza Minnelli a drag queen and then calling her "sir".

 

THE BEST CARRYOVER JOKE FROM LAST YEAR

Jennifer Lawrence's klutziness-helped immeasurably when earlier that evening she tripped over a traffic cone on the Red Carpet while exiting a limo.

 

BEST SPORT BEING THE OBJECT OF ENDLESS JOKES

Jennifer Lawrence 

 

BEST ACCEPTANCE SPEECH

Lupita Nyong'o accepting for Best Supporting Actress for 12 Years A Slave.  She concluded by saying, "When I look down at this golden statue, may it remind me and every child, no matter where you're from, your dreams are valid." 

 

MOST HEARTFELT ACCEPTANCE SPEECH

Lupita Nyong'o.

 

2ND BEST ACCEPTANCE SPEECH

Jared Leto accepting for Best Supporting Actress for The Dallas Buyers Club.  A highlight:  Praising his mom for "teaching me how to dream".

 

3rd BEST ACCEPTANCE SPEECH

Original song winners  Kristen Anderson-Lopez and Robert Lopez for "Let It Go" (Frozen) delivering their rhyming acceptance speech.  (The pair joined eleven others who have won an EGOT- all four major annual American entertainment awards: the Emmy, Grammy, Oscar, and Tony.)  

 

THE COMEDY BIT THAT NEEDLESSLY LENGTHENED THE SHOW BY AT LEAST 1/2 HOUR

Ellen's pizza party.

 

THE MOST BORED LOOKING AUDIENCE MEMBER

Charlize Theron who looked like she wished she was anywhere else on the planet.

 

THE HAPPIEST AUDIENCE MEMBER NOT NOMINATED FOR AN OSCAR

Lupita Nyong'o's brother who also photo-bombed the celebrity selfie.

 

THE MOST NOMINATED FILM NOT DESERVING TO WIN MAJOR OSCARS

Gravity (which had only one major-Best Director-among its seven winners)

 

THE MOST DESERVING FILM TO WIN THE MOST MAJOR OSCARS

12 Years A Slave

 

THE BEST FILM NOT NOMINATED FOR A BEST PICTURE

Inside Llwelyn Davis

(For the record:  the nine nominated films I rated from best to least:

(1)  12 Years A Slave

(2)  Her

(3)  American Hustle

(4)  Philomena

(5)  Nebraska

(6)  The Wolf of Wall Street

(7)  The Dallas Buyers Club

(8)  Captain Phillips

(9)  Gravity

I would have put Inside Llwelyn Davis second on this list and removed Gravity.)

 

THE WOMAN WHO LOOKED THE WEIRDEST IN A DRESS

Ellen DeGeneres

 

 

UP NEXT:   Jason Bateman's subversive comedy Bad Words

 

    The Oscar audience selfie

 





2014 AA Rambling Thoughts/Predictions

Friday February 28, 2014

-It is nearly March and, as usual, the first of the year has once again emphasized the dirth of excellent cinematic fare released just after the annual Oscar nominations are published in January.  All nine 2013 Best Picture nominees were first available to the public after October 1.  The fall is typically the time when the studios present their most precious candidates so that they will be freshest in the minds of the Academy voters.  Oh, there are a couple of historical exceptions-the most recent that comes to mind is Kathryn Bigelow's brilliant The Hurt Locker which won BP for 2008.  Released in June of that year, her film chronicling a loose cannon bomb squad sergeant during the Iraq War, was correctly awarded the top prize despite its early release.  Unfortunately, movie lovers today are forced to choose between current lame offerings such as Ride Along, 3 Days to Kill, Pompeii and the awful The Monuments Men.

-After last years disastrous hosting by Seth McFarland, the Academy goes back to the tried and true.  Although I am fan of the offbeat talents of the comedian, McFarland was definitely a proverbial fish out of water.  After a seven year hiatus, Ellen Degeneres returns for her second stint.  Her popularity has grown enormously since her first appearance, fueled by her highly successful syndicated talk show.  So expect a sweeter, albeit tamer, host as she comments on the Hollywood "royalty" she will front for the three and half hour or so extravaganza.

-Meryl Streep adds another year (her 18th) to her record acting nominations (six ahead of her closet competitor).  Interestingly, a survey conducted by Slate Magazine concluded that over the past dozen years, Streep has been thanked by the most Oscar recipients-beating out God (who came in second), Sidney Poitier and Oprah (tied for third).  But winning that fourth statuette, I predict, will be extremely tough this year (see below). 

-However, Meryl has nothing on John Williams who has been nominated for the 49th time for scoring The Book Thief.  That is the most for living nominees and he is still ten behind Walt Disney.

-The great cinematographer Roger Deakins received his 11th nom-the most ever for a non-winner in this category.

-This is the first time since 1994 that presents no first-time Best Actress Nominees.  Only Amy Adams (American Hustle) is the lone non-winner.

-American Hustle (as did 2012's Silver Linings Playbook) is the fifteenth film to receive all four acting nominations.

-Egypt gets its first ever nominee with the documentary The Square.  However, because of censorship issues, the film has yet to be shown in Film Festivals or theaters in that country.  (It is currently available on Netflix.)

-Finally, although usually festive, there will undoubtedly exist a distinct pall over the proceedings with the recent shocking deaths of four of Hollywood's finest.   Peter O'Toole and Joan Fontaine passed in December-that is sad enough.  Yet it will be the too recent and utterly untimely demise earlier this month of one of the finest actors on the planet-Philip Seymour Hoffman, and this week's loss of Harold Ramis, that could curb the overall frivolity and giddiness the ceremony usually brings.  Expect an extended tribute besides the usual annual 2-3 minute In-Memoriam segment.

The envelope, please . . . 

BEST PICTURE
What will win:  12 Years a Slave
What should win: 12 Years a Slave
Upset possibility:  American Hustle
The early leader in the clubhouse was Steve McQueen's unforgettable true story about the harrowing unfortunate kidnapping of a learned free African-American in 1841 who was sold into slavery.  However, the movie gaining enormous steam lately is Alfonso Cuaron's technically brilliant Gravity.  Technical achievement aside, the lame script and scientific inaccuracies puts this film nearly last on my list of nine.  However, Hollywood loves a winner (translated:  money) as it is closing in on a $1 billion box office take.  And one of the best barometers of this category is The Producers Guild of America Award who for the first time bestowed the honor to both films.  If these two split the vote and cancel each other out, American Hustle might slip in to snatch the award.  And, although Scorcese's Wolf of Wall Street is entertaining, its prodigious use of the F-word (a record 569 times!) will probably turn off most older members of the Academy.   I'm hoping that the Academy awards the BP to 12 Years A Slave after bestowing honors to Gravity with the . . .

BEST DIRECTOR
Who will win:  Alfonso Cuaron (Gravity)
Who should win:  Steve McQueen (12 Years A Slave)
Upset possibility:  David O. Russell (American Hustle)

Any of you who are familiar with my previous takes on AA knows that I feel it is sacrilegious to not award this to the director of the BP winner-which has happened only 23 out of 85 times.  However, if it means allowing 12 Years A Slave to slip in for Best Picture, then I accept this scenario wholeheartedly.  A canceling vote between these two films could lead to Russell winning for the hugely popular American Hustle.  If McQueen wins, the London-born director will be the first black filmmaker to win this category and only the third black director to be nominated-joining John Singleton in 1992 for Boyz n the Hood and Lee Daniels in 2009 for the Indie Precious.

BEST LEADING ACTOR
Who will win:  Mathew McConaughey (The Dallas Buyers Club)
Who should win:  Christian Bale (American Hustle)
Upset possibility:  Leonardo DiCaprio (Wolf of Wall Street)
McConaughey has been inching closer and closer to this award with each passing year.  His acting in The Dallas Buyers Club is a standout on the current list of five.  And Hollywood loves when an actor leaves ones ego at the door-which he did by loosing nearly 50 pounds to portray the true story of a cowboy determined to fight his AIDS diagnosis.  He was the early favorite to win but the contenders are closing.  So, in a tight race, I'll go with MM.  However, for me, Bale's range of acting hits a new high playing a sleazy New Jersey con man in the 70's in American Hustle.  Leonardo DiCaprio is a dark horse considering this is his forth nomination without a win.  But, although rendering an excellent performance, I put Leonardo fourth on the list behind Bale, McConaughey, and Chiwetel Ejiofor  (12 Years A Slave).

BEST LEADING ACTRESS
Who will win: Cate Blanchett (Blue Jasmine)
Who should win: Cate Blanchett
Upset possibility:  Sandra Bullock (Gravity)
If it wasn't for the ever present Meryl Streep, this would be a slam dunk category.  Blanchett, who won for Best Supporting Actress in 2004 for The Aviator, gives a performance for the ages in Woody Allen's latest, Blue Jasmine.  Streep is also truly amazing as the matriarch of one of the most dysfunctional family I have ever spent time with in a darken theater.  And, as it pains me to say this, prognosticators are recently voicing Sandra Bullock's name as a dark horse possibility.  As admirable as her physical feats are in Gravity, Bullock's performance is not even in the same league as Blanchett's.  If Bullock wins, Blanchett should cry foul and demand a Federal investigation-as should Streep.
     
BEST SUPPORTING ACTOR
Who will win:  Jared Leto (The Dallas Buyers Club)
Who should win:  Jared Leto
Upset possibility:  Jonah Hill (The Wolf of Wall Street)
Another sure bet is Leto's unforgettable portrayal as Rayon, Mathew McConaughey's transgender sidekick in The Dallas Buyer's Club.  It was only a matter of time before Leto, the front man for the pop group Thirty Seconds from Mars, would be accepting an acting award and Sunday night should be that night.  Undeservedly snubbed for a nomination in his role as a Brooklyn junkie in Darren Aronofsky’s 2000 Requiem for a Dream, he later would gain over 60 pounds to play Mark David Chapman in 2007's Indie Chapter 27.  (Trying to lose the weight too quickly afterward, he was diagnosed with gout.)  Here he loses even more weight to portray Rayon and gives a performance as riveting and charismatic as any that I have ever witnessed.  Jonah Hill has been mentioned as a possible winner.  For me, Michael Fassbender as an evil sadistic slave-owner, is a distant second to Leto in this category.  

BEST SUPPORTING ACTRESS
Who will win:  Lupita Nyong'o (12 Years A Slave)
Who should win: Lupita Nyong'o
Upset possibility:  Jennifer Lawrence (American Hustle)
This is the toughest category to predict.  Lawrence's scene-stealing Jersey housewife proves that she is sure to fill multiple best acting lists for many years to come.  This and the fact she just won BA last year for Silver Linings Playbook (the second youngest actress to do so) opens the door for Nyong'o who played Fassbender's sex slave and who gave a solid Oscar-worthy performance.  Raised in Kenya and a Yale Drama School graduate, Lupita's main competition, besides Lawrence (my personal second choice) will be the talented 84-year-old June Squibb who has performed on stage, screen and TV for over 60 years.  Academy members love to honor longevity and her biting characterization as Bruce Dern's long-suffering spouse in Nebraska could result in her accepting the award on Sunday.  Then there is Julia Roberts, long an Academy fav, and the wonderful Sally Hawkins who should have at least garnered an AA nom for her incredible role as the optimistic teacher in Mike Leigh’s Happy-Go-Lucky in 2008-despite winning several critic awards.  It would be a nice make-up nod if she won.  However, my money is on newcomer Lupita Nyong'o-just one more unforgettable aspect of the incredibly haunting 12 Years A Slave.

BEST ANIMATED FEATURE FILM
Who will win:  Frozen
Who should win: Frozen
Upset possibility:  (None)
Co-winner of my lock-of-the-night goes to (at the moment) the third grossing animated film of all time and will also have the distinction of being the first Oscar by Disney in this category.  Enough said.

BEST ORIGINAL SCREENPLAY
Who will win:  Spike Jonze (Her)
Who should win: Spike Jonze
Upset possibility:  (None)
The other LOTN goes to director Spike Jonze for his mini-masterpiece script.  Her was correctly nominated for BP but should have had Joaquin Phoeniz on the short list for Best Actor-at the very least over Leonardo.  Winner of several pre-AA awards already, there is no denying the ingenuity, intelligence and heart of Jonze's script about a futuristic lonely guy who finds love and comfort in the voice inhabiting his computer's operating system.

BEST ADAPTED SCREENPLAY
What will win:  John Ridley (12 Years A Slave)
What should win:  John Ridley
Upset possibility:  Steve Coogan and Jeff Pope (Philomena)
The powerful screenplay adapted by John Ridley from Solomon Northup's memoir is literate and believable to a fault and is one major factor for the film probably winning Best Picture.  A distant second will be Steve Coogan and Jeff Pope whose adaptation based on Martin Sixsmith's biography made Philomena one of my favorite films of 2013. 

BEST DOCUMENTARY
What will win:  20 Feet From Stardom
What should win:  The Act of Killing
Upset possibility:  Cutie and the Boxer
The Act of Killing was one of the most bizarre and disturbing documentaries I have ever seen.  And covering every AFI Documentary Film Festival since its inception in 2003, I've seen plenty.  Documenting a present day Anwar Congo retelling his past mass murdering rampage when the government of Indonesia was overthrown by the military in 1965, is disturbing on so many levels.  Yet this ground-breaking doc might be too tough for most Academy members to honor.  Much easier for them to select the crowd-pleasing 20 Feet about the languishing obscurity of backup singers to pop stars.  I cannot see any other choice except Cutie and the Boxer, which beautifully chronicles an unusual 40 year marriage between an elderly boxer turned artist and his spouse in 1970's New York.  However, shock will prevail in my living room if it wins over these two powerhouse documentaries.

Stop back for my post-AA report next week.

HER - **** (126 minutes)

 January 7, 2014

 

Most years there is at least one major Academy Award nominee that is a sure bet to win.  This year, one of my predictions is writer/director Spike Jonze (Being John Malkovich, Adaptation, Where The Wild Things Are) for Best Original Screenplay.  I will be shocked if he is not accepting this Oscar on March 2.

 

However, there is more to this perfect film than its excellent humorous, but troubling, innovative screenplay.  Namely, it all falls apart if the lead character cannot successfully carry the ideas Jonze have incorporated.  Luckily, he has selected the extremely talented Joaquin Phoenix who paints a subdued spot-on totally believable portrait of a lonely dude searching for the perfect mate sometime in the near future. 

 

The movie immediately introduces us to Theodore Twombly, a former magazine writer whose day job with BeautifulHandwrittenLetters.com consists of writing Hallmark-like love letters for other folks.  Right off the bat, Jonze is laying the story's central foundation of an increasingly non-communicative world by depicting Theodore creating surrogate letters using computer script. 

Lonely and separated from his spouse, he installs a newly created Artificial Intelligent computer Operating System and its resident voice Samantha (sexually supplied by Scarlett Johannson).  Think iPhone's Siri with a breathless alluring persona. 

Slowly, despite the obvious lack of physicality, Samantha's intelligence and sensitivity for Theodore results in his realization of just how perfect this new companion is by supplying what has been missing in his life. 

Amy Adams and Rooney Mara play brief roles as Theodore's platonic friend and separated wife, respectively.  And effective cinematography by Hoyte Van Hoytema (Tinker, Tailor, Soldier, Spy) as well as an outstanding production design by K. K. Barrett, costume design by Casey Storm and score by pop group Arcade Fire are each particularly worth noting.

My favorite all-time film remains Stanley Kubrick's 2001:  A Space Odyssey whose central character was a computer that was created to assist future astronauts-replete with human emotions and feelings.  It has taken over 45 years since this cinematic landmark for Jonze to refine that concept by presenting a comment on the current human condition that subtly emphasizes the uneasy direction our interpersonal relationships are becoming.

We are all aware how the exponential proliferation of the Internet, texting, Twitter, Facebook, etc. have resulted in our human connections becoming ever more impersonal, distant and unfeeling.  The question is:  Where is all this heading?

Jonze answers this will an entertaining yet troubling look not too far down the road as computers become more and more human than mindless pieces of metal.  Instead of the script and acting falling into a screwball comedy genre, Her instead makes us deeply think and contemplate what the future may hold as humans become increasingly dependent on technology instead of each other.

Upcoming this Friday:  Pre-AA Rambling Thoughts/Predictions 

 

Amy (Amy Adams) and Theodore (Joaquim Phoenix)

 discuss his growing fascination with the voice of  his

 computer's new operating system

 

 

AMERICAN HUSTLE - *** 1/2 (129 minutes)



  

Wednesday December 18, 2013 

 

Writer/director David O. Russell is becoming one of those talents who does not know how to make a poor movie.  Beginning with his debut 1994 film "Spanking the Monkey" through 2012's multi-Oscar nominated "Silver Linings Playbook", the American director keeps churning out critical hit after hit. 

Once again, using several of the ensemble cast members from SLP as well as his previous work, and a distinctive 70s retro look (particularly the outrageous 70s styles and fashions), Russell combines humor and drama to produce one of this year's best film.  The 70's is considered by most critics as the golden Age of Hollywood-a period in which this film is clearly enamored.

The film is loosely based on The Abscam Affair (I loved the opening title that pointed out that "some of this actually happened").  The convoluted tale takes place in 1978 New Jersey and involves a con to ensnarl corrupt politicians trying to profit from the newly established casino industry in Atlantic City.  Without revealing too many plot points, it is best to just sit back and watch master acting by some of moviedom's finest talent as they lead you through the intricate story and fun.

Christian Bale is nearly unrecognizable in the title role as dry cleaning owner/con artist, Irving Rosenfeld.  Gaining 45 pounds, a hideous comb over and a Brooklyn accent, the handsome English actor leaves his Batman persona in the dust and proves, once again, that he is one of the best actors on the planet.  A vampy Amy Adams is outstanding playing Bales partner in crime and love interest.  Bradley Cooper portrays an over-the-top FBI agent (seeing him in pink curlers is nothing short of hilarious) hell bent on making a name for himself.  While Jennifer Lawrence, as Bales estranged spouse, continues her impressive acting resume with a white trashy Jersey Housewife impersonation that could garner her back-to-back Oscars.  Lawrence steals every scene in which she appears.  And in a smaller role, Jeremy Renner is miles away from his gritty role in The Hurt Locker playing a corrupt (or is he?) mayor.

My only complaint is that I would have wished for a slightly shorter running time as Russell's script seemed to run out of steam around the 100 minute mark.  However, overall, American Hustle provided one of the most satisfying times this critic has experienced in 2013.

Upcoming:  Her 

 (l to r) Sydney Prosser (Amy Adams), Richie DiMaso

(Bradley Cooper), Mayor Carmine Polito (Jeremy Renner), Irving Rosenfeld (Christian Bale) and Rosalyn Rosenfeld (Jennifer Lawrence) partying at the Mayor's fundraiser

INSIDE LLEWYN DAVIS - **** (105 minutes)

 

 

 

December 15, 2013

 

Joel and Ethan Coen have done it again, creating yet another period masterpiece centered around the popular folk music scene in the early 1960's.  Infused with memorable fictional characters (some of whom are composites of actual persons), the brothers have effectively tackled the genre, imparting a original story, with music fondly reminiscent of the era, that never bores.

 

Llewyn Davis (the sad-eyed Oscar Isaac in a superlative breakout performance) is a struggling artist in Greenwich Village New York trying to make it solo after his partner committed suicide.  The movie covers a week in his life that carefully chronicles his struggle to survive.   First, he tries to obtain temporary shelter with his married musical pals Jean and Jim (played admirably by Carey Mulligan and Justin Timberlake), the former of which informs Davis that she is pregnant with his child.  A visit to his sister to get a handout is met with total disdain.  His road trip to Chicago to audition for a prominent music exec (F.  Abraham Murray in a brief but memorable scene) ends disastrously.  And his return to New York discourages him to the point where he decides to chuck it all and rejoin the Merchant Marines-only to find out his sister threw out his Merchant Marine license.  This is further exasperated when he is told that he needs $85 to obtain a new one, which is tough for a penniless homeless musician.

 

These and other scenes depict Llewyn as a totally bitter and unsympathetic dude.  Yet, despite that, Isaac manages us to feel so sorry for his plight that I actually found myself secretly rooting for him. 

 

Even though this synopsis seems to paint a bleak depressing portrait of a struggling artist, the Coens typically infuse enough continuous humor and pathos to keep those 105 minutes flying along.   All of this works because of the extraordinary acting and musical abilities of Oscar Isaac. 

 

Special mentions go out to the amazing cinematography by Bruno Delbonnel as well as the production design of Jess Gonchor  who both expertly capture the times and feel of 1961.  And, as he did for O Brother Where Art Thou, T. Bone Burnett serves as executive music producer.

 

A special note about the score:  All of the actors performed their original and traditional songs live.  Also, the main character is loosely based on Dave Van Ronk (the title refers to Van Ronk's 1963 album "Inside Dave Van Ronk") who actually sings his song over the closing credits.

 

This is a modest film by the talented filmmakers.  Yet it ranks as one of my all time favorites from their vast outstanding catalogue.
 

Upcoming:  American Hustle  

 

Lllwelyn (Oscar Isaac) ponders his next

 move

 

Jean (Carey Mulligan) and hubby

Jim (Justin Timberlake) performing

at The Gaslight Café



 

 

 

 

 

 

 

 

 

 

Philomena - ***1/2 (94 minutes)

 

 

 Wednesday November 6, 2013

 

The great British director Stephen Frears' (2006's The Queen) latest is based on Martin Sixsmith's book The Lost Child of Philomena Lee, which recounts the true life story of a mother who had the misfortune of becoming pregnant after engaging in teenage premarital sex in 1960's Irish Catholic England.  Considered a sinner, she was place in a convent where she underwent a horrible birth.  Then working as a slave laborer in the laundromat to pay off her "debt" to the order, she was allowed to see the child only one hour a day.  Later, she shockingly observes the nuns snatching the child to give him to an adoptive couple from The States. 

 

Many years later, Philomena (played note perfectly by the acclaimed English actor, Judi Dench), whose regret for the loss 50 years earlier has increased exponentially with her advanced age, enlists the aid of  Martin Sixsmith.  Martin (comedic actor Steve Coogan who also produced and co-wrote the script with Jeff Pope) is a recently unemployed journalist who only becomes involved after realizing that this human interest story for a local newspaper might jump start his stalled career.  Together, they embark on a journey that brings many surprises-replete with satisfying doses of humor and pathos that will also paint yet another portrait of inhumane treatment by the Church during mid-20th century England.   (The film brings to mind Peter Mullan's excellent 2003 film The Magdalene Sisters.)

 

Once again, another terrific score provided by Alexander Desplat (who has been AA nominated five times since 2007) is a welcomed unobtrusive addition to the excellent script.  Coogan shows remarkable restraint and believable skepticism while delivering enough subtle humor to keep the proceedings from becoming too maudlin.  (His pivotal scene at the convent near the end with the now reclusive nun who caused the separation, is a noted powerful highlight.)  However, it is Dame Judi Dench who steals the show.  The late movie bloomer, who enjoyed most of her career on the English stage, will undoubtedly receive strong consideration during Oscar time, as well as the film which is one of the best of the year. 

 

Philomena opens in Baltimore and limited national platform release beginning November 22.  

 

Philomena (Judi Dench) and Martin (Steve Coogan)
begin their quest for her long lost son 

All is Lost - ** 1/2 (106 minutes)

 

Tuesday October 22, 2013

 

Writer/director J. C. Chandor's 2nd effort (the first was his 2011 critically acclaimed "Margin Call" which received an Academy Award Best Screenplay nomination) is simple in narration but harrowing in its execution.  It is man against the sea (Hemingway:  Are you listening?). 

 

With virtually no dialogue, for eight days, the director takes you into a world of survival as one man attempts to save his life after his 39-foot sailboat rams into a stray shipping container in the open Indian Ocean.  After patching the hole, his immediate sense of relief is replaced with crises after crisis that slowly leaves the lone sailor (identified as "Our Man" in the credits) frustrated and exhausted.  The only questions appear to be how and when the voyager's life will end. 

 

Despite his 77 years, the charismatic veteran actor, Robert Redford, looks buff and capable (the actor performed nearly all of his own stunts) and attempts to make all of this believable to a certain degree.  However, the film failed to emotionally involve and move me.  Ultimately,  the main problem I had were the many unanswered questions presented such as why would a lone elderly sailor attempt to sail alone in a relatively small vessel and risk his life in open waters?  By not providing any back story, the narrative suffered as a result, so that, in the end, I could have cared less if the distressed voyager lived or died-despite his numerous heroic attempts to survive.  And the ending may have some folks shaking their head in disbelief after spending nearly two hours with Our Man in the open seas.   

 

That being said there is much to be admired.  The director's dazzling technical achievements succeeded in creating a claustrophobic milieu (I did learn a bit of survival strategy that, hopefully, will never be used in this reviewer's future).  Also, an effective score by Alex Ebert nicely complements the visuals, while Frank G. DeMarco and Peter Zuccarini provided outstanding cinematography. 

 

"All is Lost" began a U.S. platform release beginning October 18.  It opens October 25 in D.C. and November 1 in Baltimore.

 

Our Man (Robert Redford) battles the sea in order to

 survive his sinking sailboat