The Scary Old Man Labored to Getaway

Labor Day (2013)

Escaped convict Frank Chambers (Josh Brolin), takes refuge in the home of single mom Adele Wheeler (Kate Winslet). Chambers holds Adele and her son Henry hostage as he recovers from injuries sustained during his escape.

Frank is caught, but not before falling in love with Adele and teaching Henry how to cook.  When he’s finally released, Adele is there to meet him outside the prison.

Adele is a horrible mother who values her own desire for romance and adventure over the well-being of her son.

Winslet specializes in playing women who struggle with societal expectations regarding their love lives: Rose in Titanic (1997), Clementine in Eternal Sunshine of the Spotless Mind (2004), Sarah Pierce in Little Children (2006), and April Wheeler in Revolutionary Road (2008). I don’t think I’ve seen a movie where WInslet is in a healthy, loving relationship. Her characters invariably suffer lonely existential crises emanating from their powerlessness in their most important relationships.

Smarter people than me have belabored the point, but Josh Brolin is a younger version of Tommy Lee Jones, gruff and humorless with a subtle twinkle to let us know he’s in on the joke.

Tobey Maguire has a small role as the older version of Henry Wheeler.  Maguire made a lot of money as Spider-man, but he’s never lived up to the promise of those films.

It’s fun to see James Van Der Beek show up in a small role, but it doesn’t add to the movie.  If anything, his appearance is a distracting reminder of the glory of Dawson’s Creek.

Clark Gregg is always a solid background player and JK Simmons demonstrates once again why he’s in the unheralded supporting actor Hall of Fame.

Jason Reitman, son of successful director Ivan Reitman, is a capable director.  Juno (2007), Up in the Air (2009), and Young Adult (2011) are very good movies; this is not.

The problem is not Reitman’s direction or the cast, but the concept.  It’s a dull story about boring characters which ends predictably.

Scary Movie 5 (2013)

Calling this a parody speaks volumes about the state of contemporary American comedy.  It’s more like a pastiche of references to popular culture landmarks in an attempt to leech off more deserving films.

I feel bad for the people involved, many of whom are talented performers who deserve better.

This is a low point in the career of Molly Shannon, Darrell Hammond, Heath Locklear, and Jerry O’Connell.

Remember when Charlie Sheen was an actor and not a punch line?

Remember when Lindsay Lohan was not the poster child for the corrupting power of Hollywood?

I’m embarrassed to admit I watch the MTV show Teen Wolf starring Tyler Posey as Scott McCall.  I do so because the original films were treasured parts of my childhood.  His work in Teen Wolf is more enjoyable and sophisticated than anything he does here.

Even though I watched the movie, I’m not sure what Snoop Dogg and Usher were doing.

Mike Tyson struck gold with The Hangover series.  I’m sure he was hoping to replicate his success; he did not.

I suppose if you liked the first four entries in this series, you’d be inclined to watch this as well.  I’d advise against such torture, but to each their own.

Getaway (2013)

This is very bad spiritual successor to Speed (1994).

Brent Magna (Ethan Hawke) is a former racecar driver who comes home to find his wife missing. His phone rings, and a mysterious Voice (Jon Voight) demands Magna participate in a series of robberies or his wife will die.

For some never really explained reason, Magna winds up with a sidekick in The Kid (Selena Gomez).

I like Ethan Hawke.  He’s been in some of my favorite films, including Dead Poets Society (1989), Dad (1989), Before Sunrise (1995), Training Day (2001), Before Sunset (2004), and Before Midnight (2013).  But this is a serious misstep.

If Selena Gomez has designs on a respectable acting career, she might want to attach herself to respectable projects. The Wizards of Waverly Place doesn’t count.

Jon Voight won an Oscar in 1978 for Coming Home.  Sadly, Oscars don’t come with guarantees for quality future roles.  This is not the worst film of Voight’s late career (I’m looking at you Superbabies: Baby Geniuses 2), but it’s in the running.

This is a waste of time and a frustrating waste of talent.

The Old Man and the Sea (1958)

I enjoyed Hemingway’s short novel about manhood; John Sturges is a competent director of machismo classics: Gunfight at the O.K. Corral (1957), The Magnificent Seven (1960), The Great Escape (1963); I’m a huge fan of Spencer Tracy’s work.

All of this should have translated into a wonderful film about a man’s stubborn manliness: a paean to perseverance.

Sadly, the movie never manages to reach those heights.  Hampered by technical challenges, the difficulty of filming a movie about a man stuck on a boat by himself for days proved insurmountable.

It’s a noble attempt, but only a mediocre film and a disservice to a fantastic piece of literature.

The King was born in a Manger sans the alluring cross

Allures (1961)

This experimental film by Jordan Belson, is a trippy, combination of sounds and images, and was preserved in the National Film Registry in 2011.

It reminds me of the final sequence of 2001: A Space Odyssey
(1968).

Most people will never see it, and their lives will be no less fulfilling.

Sans Soleil (1983)

This avante garde documentary by Chris Marker is an attempt to document how cultural memory is created and maintained. He narrates an essay about time and memory set against such diverse footage as a volcano in Iceland, the San Francisco scenes from Vertigo (1958), and the slaughtering of a cow in Guineau-Bissau.

It’s an interesting experiment and worth watching once, but I don’t think it was successful, and I won’t watch it again.

From the Manger to the Cross (1912)

One of the earliest feature films to deal with Christ, this was placed in the National Film Registry in 1998.  It’s important from a historical standpoint, but there are better films about the life of Christ.

It’s not a film I will think of very often.

A King in New York (1957)

After a revolution in his country, King Igor Shadhov (Charlie Chaplin) discovers he’s bankrupt and comes to America looking for opportunities.  He attends what he thinks is a private dinner party, but the event is televised; his antics make him a popular commercial pitchman.

Igor meets and befriends a young anarchist student Rupert (played by Chaplin’s son Michael). Because Rupert’s parents are incarcerated for their communist activities everyone assumes his new friend is also a communist. When the king is called to testify before the House Un-American Activities Committee, he flees to Paris; Rupert is forced to identify other communists in exchange for his parent’s freedom.

The film ends with the king presciently reassuring Rupert anti-communist fervor will pass and inviting the child to stay with him in Europe until it does.

This film has been largely forgotten. Typical of Chaplin’s later films, it’s a bit uneven.  Emboldened by his early successes, his later films were not as focused, as if he was so enamored with his own genius he assumed the public would be as well.

Despite its flaws, I’m a fan of this deeply personal and biting satire about American tolerance for different political opinions, consumerism, and commercialism. Chaplin’s left-leaning political views had led to his exile from America in 1952. This was made in 1957 during his exile and is an attempt to do to the HUAC and communist witch hunts what he had previously done to Hitler with The Great Dictator (1940). Like the earlier film, history has proven him right. By the time the film received an American release in 1973, the Joseph McCarthy led search for communists in the American government in the 1950s was widely seen as an embarrassing episode in American history.

Best of the 2000s

215px-Memento_posterMemento (2000)

Leonard was viciously attacked and now suffers from anterograde amnesia.   Deprived of the ability to make new memories, every day he has to start over while the world around him changes.   He can’t develop new relationships, he can’t get a job; the only thing he can do is obsess and despair over his unfortunate predicament.

Leonard finds purpose in pursuing vengeance.  Every day, he leaves clues for himself to discover the next morning so he can continue to hunt his attackers.

After he finds the culprit and extracts revenge, Leonard is unable to cope without the goal of finding his attacker; the burden of a life with no memories is unbearable.

Realizing he won’t remember he found his attackers, he tricks himself into thinking they’re still on the loose.  He creates an unsolvable puzzle, continuing to leave clues day after day, knowing when he wakes up, he’ll once again be comforted by his obsession.

After achieving success in Australia, Guy Pearce rose to prominence in the US with LA Confidential (1997).  As Leonard, he creates a likable and accessible character, while maintaining a degree of danger and mystery.  We like Leonard, but never completely trust him.

Carrie Ann-Moss is best known as Trinity from the massively successful Matrix trilogy.  She’s excellent as Natalie, a woman with a murky past who uses Leonard’s condition to manipulate him for her own purposes.

Joe Pantoliano‘s career has mostly consisted of supporting roles (often as a violent criminal like Ralph Cifaretto), but his performance as Teddy is the lynchpin to making this movie work.  We have to believe he could be a bad guy and simultaneously believe Leonard could trust him.  It’s a difficult tightrope, which Pantoliano pulls off.

Of course, any movie with Stephen Toblowsky, is on its way to being a good movie.

This was Christopher Nolan’s first major success and may be his best movie.  He doesn’t tell a story, but instead forces his audience to create a story with him.  There’s a plot, but it’s so layered it’s virtually inaccessible.  Much like his later film, Inception (2013), the point of the movie is to figure out the puzzle he’s created.

The movie is even structured like a puzzle: events are shown out-of-order, murdered characters show up a few scenes later.  The effect is dizzying, and approximates Leonard’s condition, making the audience unsure of the reality of any moment.

This is an excellent fusion of film noir techniques and experiential storytelling.  To describe what happens is simple, but watching it is a complex, rewarding experience.

220px-The_TenenbaumsThe Royal Tenenbaums (2001)

A perfect portrait of a dysfunctional family told in a loving, almost worshipful way, this film proves the Frat Pack are capable dramatic performers.

Eli Cash, the adopted Tennebaum and Margot’s secret lover, is the most fully realized character of Owen Wilson’s career.

By most reasonable standards, Luke Wilson has had a successful career, but he’s been overshadowed by his brother Owen’s success.  This is his best film, and eccentric former tennis player Richie Tennebaum is his best role.

Her work as Margot Tennenbaum reminds me there was a time when Gwyneth Paltrow was a great actress and not prima donna tabloid fodder.

Danny Glover gives one of his better performances as Henry Sherman.

Alec Baldwin is a perfect choice as the narrator.  His rich baritone makes the movie feel like a bad idea for a bed time story.

Everyone assumes Anjelica Huston was given her spot because of her famous father and grandfather.  She’s not a typical Hollywood beauty and doesn’t always come to mind when thinking of the great actors of her generation, but her resumé: This is Spinal Tap (1984), Prizzi’s Honor (1985), The Dead (1987), Crimes and Misdemeanors (1989), The Grifters (1990), and Manhattan Murder Mystery (1993) should place her in the discussion.  Fortunately, since her performance as Etheline, the Tennebaum matriarch, she’s experienced a late career Renaissance.

Many commentators credit Wes Anderson with reinvigorating Bill Murray’s career, but he did more than revive it, he created it.  Murray was a popular middlebrow comedian whose career stalled as he aged like fellow SNL alumni Dan Ackroyd, Chevy Chase, and Steve Martin, but starting with the Anderson directed Rushmore (1998), he transitioned into a laconic, super cool trend setter / Internet legend.  His later work has been so good, it’s forced us to view his earlier work through a different prism.  We see Peter Venkman and Phil Connors differently because of Herman Blume and Bob Harris.

This was the last great role for Gene Hackman who epitomized the 1970s in films like The French Connection (1971), The Poseidon Adventure (1972) The Conversation (1974), and Young Frankenstein (1974).  Sadly, in 2003 he decided to spend his twilight years engaged in other pursuits, ending his fifty year Hollywood career.  Luckily, Royal Tennenbaum, the enigmatic, selfish father is a glorious farewell.

Bottle Rocket  (1996) has moments of what would become Wes Anderson’s trademark style, Rushmore (1998) brought him mainstream success, but The Royal Tenebaums (2001) cemented his reputation.  Despite the success of Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014), this remains the quintessential Wes Anderson film.

220px-Adaptation._filmAdaptation. (2002)

It’s a loose adaptation of Susan Orlean’s The Orchid Thief, a non-fiction account of the arrest of John Laroche for poaching rare plants in Florida.

Calling it an adaptation is a sleight of hand by Jonze and frequent collaborator, screenwriter Charlie Kaufman.  It’s more like an interpretation; freely adding fictional elements to Orlean’s non-fiction work.

Kaufmann is a consistently inventive screenwriter.  From Being John Malkovich (1999), to Eternal Sunshine of the Spotless Mind (2004), to Synecdoche, New York (2008), his films are hyper post-modern examinations of the fractured reality of 21st century existence.

Kaufmann was hired to adapt The Orchid Thief and could not do it.  Suffering from writer’s block, he wrote a screenplay about his struggle, creating a fictional identical twin brother in the process.  As a joke, he gave his make-believe brother a co-screenwriting credit; Donald Kaufmann is the first (and only) fictional character to earn an Academy Award nomination.

In an insightful parody of the Hollywood process, Charlie attends a screenwriting seminar led by controversial Hollywood guru, Robert McKee.

Donald suspects Orlean (Meryl Streep) is hiding something, so the brothers follow her to Florida and discover she’s having an affair with Laroche (Chris Cooper).  The reason he stole the orchid was because the plant can be used to create a drug which causes fascination.  Laroche gave this drug to Orlean and she subsequently developed an obsession with him.

The end is a pastiche of action movie clichés as Orlean and Laroche try to kill the Kaufmanns to protect their secret.

Chris Cooper was a late bloomer with Lone Star (1996),  but afterwards he exploded with roles in American Beauty (1998), The Patriot (2000), the Bourne movies, Capote (2005), The Town (2010), The Muppets (2011) and Norman Obsorn in The Amazing Spider-Man 2 (2014).  He deservedly won an Oscar for his work as John Laroche.

Nicolas Cage’s career has inspired a lot of debate.  He’ s very talented, but often chooses movies not worthy of his talent and claimed in 2011 to have developed his own style of acting, “Noveau Shamanic.”  Most people already have strong opinions about his work; his dual role as Charlie and Donald Kaufmann, while not likely to change those opinions, is one of his best performances.

Streep turns in another solid performance, helping ground the bizarre story as the obsessed author.

Despite only directing four feature films, Spike Jonze has developed a reputation for experiential narrative: a secret door provides access to John Malkovich’s head, a man falls in love with his phone’s operating system.

The more you pursue the seeming loose ends in this twisted, funny movie, the more you realize Kaufmann and Jonze anticipated your questions and answered them.  It’s a perfect film to begin a new millennium, deconstructing the practice of adapting works of art to different mediums.

220px-Mystic_River_posterMystic River (2003)

Three boys are playing in the streets of Boston in 1975.  One of them is kidnapped and sexually assaulted, escaping after four days in captivity.

Thirty years later, the three of them still live in the Boston area, but are no longer friends.  Jimmy Markum (Sean Penn) is an ex-con who runs a store.  Sean Devine (Kevin Bacon) is a detective with the state police.  Dave Boyle (Tim Robbins) is leading a normal blue-collar life.

When Jimmy’s daughter Katie is murdered, Sean is assigned the case.  Circumstantial evidence and suspicious behavior suggests Dave was the murderer.

The movie slowly builds suspense until the heartbreaking twist ending, which, in retrospect, was inevitable; the only path the three boys could have taken.  Their lives were spent playing the roles they were given when those kidnappers picked Dave.

Sean Penn has never been better than as Jimmy Markum, who turns to a life of crime because it’s the only life he knows.

Tim Robbins is masterful as the pitiful Dave Boyle.  Destroyed as a young child, Dave will never be anything but a scared, broken boy.

Kevin Bacon is not in the same league as Penn and Robbins, but he’s good as Sean Devine, torn between his job as a policeman and his old loyalties to Jimmy and Dave.  Thirty years later, he still feels guilty about not protecting his friend.

Marcia Gay Harden and Laura Linney do yeoman’s work as the wives of Jimmy and Dave.  Linney has become one of my favorite actresses; when she’s in a movie, I’ll have strong feelings about it.  I loved Searching for Bobby Fischer (1993), The Truman Show (1998), You Can Count on Me (2000), Love Actually (2003), and The Savages (2007).  I hated Primal Fear (1996) and Kinsey (2004).

Laurence Fishburne has had a fascinating career. His debut was Apocalypse Now (1979).  He played Cowboy Curtis in Pee Wee’s Playhouse.  He’s been in The Matrix (1999), starred in CSI, played Perry White, and fought Hannibal Lecter.  He’s decent as Sean’s partner, Whitey Powers, but the role is just background.

Despite his iconic status, succeeding John Wayne as a symbol of masculinity, Clint Eastwood is a better director than actor.  As an actor, his range is limited.  As a director, he’s unbelievably versatile; he can handle westerns, war pictures, foreign language films, and musicals.  He won his second Best Director Oscar the next year for Million Dollar Baby, but this is his best movie.

I love Dennis Lehane’s novel.  It’s a hypnotic story about coincidence, fate,  jumping to conclusions, and inadvertent consequences, asking how much of our lives are under our own control.  This is a near perfect adaptation of a near perfect novel.

220px-Before_Sunset_posterBefore Sunset (2004)

Richard Linklater’s series of films chronicling the romance of Jesse and Celine is one of the most honest and complete looks at a relationship captured on film.

In the first film, Before Sunrise (1995), Jesse, an idealistic American fresh out of college meets Celine, an opinionated French girl, while traveling through Europe. They spend the night talking about their worldviews and personal philosophies and eventually make love.  When the movie ends, they promise to meet again in six months.

This sequel takes place nine years later.  Jesse returned to Vienna as agreed; Celine did not.  Jesse, now married with a son, has written a novel based on their encounter and is at the Shakespeare and Company bookstore in Paris to promote it.  Celine comes to explain why she didn’t meet him as planned: her grandmother died and she had to attend the funeral.

As they catch up on their lives and how they’ve changed since their first encounter, their feelings for each other are rekindled. The movie ends ambiguously as Celine sings to Jesse and reminds him he has to catch a plane.

Despite his Texas roots, Linklater’s films are closer to European cinema: dialogue and idea driven; what happens is not as important as the ideas explored.

Ethan Hawke is an underrated actor who rarely makes a bad movie, with the recent exceptions of The Purge (2013) and The Getaway (2013).  His work with fellow Texan Linklater is the best stuff he’s done.

Julie Delpy is great as Celine and plays a Celine-like character in 2 Days in Paris (2007), and its sequel 2 Days in New York (2012), however the character becomes annoying without Ethan Hawke to support her.  Adam Goldberg and Chris Rock are funny, but they’re not as capable of elevating her performance.    Her best work outside of the Before … series is Kieslowski’s Three Colors trilogy.

This is a great film about the petty squabbles, quiet moments of intimacy, and meandering conversations which are the hallmark of a good relationship.

220px-BrickmovieposterBrick (2005)

This hard detective story in the mold of Sam Spade and Phillip Marlowe set in a contemporary California high school, is a sort of spiritual cousin to the pseudo noir TV show, Veronica Mars. But while Mars is a tongue in cheek  homage, this film is a serious update to the genre.

Outcast Brendan Frye (Joseph Gordon-Levitt) receives a mysterious note which leads to a payphone where he hears a cryptic, frantic message from Emily (Emilie de Ravin), his ex-girlfriend.  When he tracks her down through her stoner friends, she denies there’s anything to worry about, but within days, he discovers her dead body.

Feeling responsible for her fate, Brendan is determined to discover what happened.  His investigation untangles a wicked plot of deception and places him in the middle of a power struggle between The Pin (a local drug dealer) and Tug (his enforcer).

Lukas Haas gives a fine supporting performance as The Pin and Emilie de Ravin does her best work outside of Lost, but the reason to watch is Joseph Gordon-Levitt.  Already famous for his work in 3rd Rock from the Sun, his performance as Brendan Frye catapulted him into the upper echelon of young actors.

Rian Johnson’s impressive directorial debut originated in his obsession with Dashiell Hammet.  After seven years trying to get Hollywood backing, he financed the film himself.  Since, he’s directed the time travel thriller Looper (2012) which also starred Gordon-Levitt, and the series defining “Ozymandias” episode of Breaking Bad’s stellar fifth season.

In the tradition of the best noirs, the plot borders on ridiculous; many will find it difficult to keep up with who’s betraying whom, but like those noirs of yesteryear, the point of the film is to entrance us with the characters and dialogue.  In the best noirs, the question, “What’s it about?” is as ridiculous as asking what a Jackson Pollock painting is about.  The story is secondary  to the dangerous, paranoid atmosphere.

225px-Leben_der_anderenThe Lives of Others (2006)

Gerd Wiesler is tasked to spy on playwright Georg Dreyman, who the Minister of Culture is convinced is a security threat despite his communist sympathies.   But the Minister has a hidden agenda: he fancies Dreyman’s girlfriend, actress Christa-Marie Sieland, and uses the information supplied by Wiesler to blackmail her into a sexual relationship.

During his surveillance, Wiesler grows sympathetic to Dreyman and Sieland and eventually, must make a decision between the country he loves and the friends who are unaware he exists.

The final scenes of the movie are a beautiful illustration of how powerful the actions of an individual can be, even against the full apparatus of the  state.

There’s a sublime scene when the Stasi workers assigned to intercept mail learn the Berlin Wall has fallen.  Without a word, they stop their work and leave their cramped office; they know without being told their world has ended.  We think of history as a slow march towards progress, but it often leaps forward: one day you’re spying for the East German communists, the next you’re living in a democratic, unified Germany.

The first film directed by Florian Henckel von Donnersmarck has been hailed as a conservative masterpiece, but the movie transcends politics.  People and ideologies only become evil when corrupted by an insatiable desire for more power.

A German language film about the oppressive tactics of East German intelligence during the Cold War doesn’t sound like a celebratory movie, but this is a hopeful film.  It explores mankind’s capacity for evil and how immoral regimes rely on ordinary people following orders to commit their crimes, but it shows a way forward through such evil.

Gerd Wiesler was a part of the apparatus of evil, but in the film’s final act, he transcends and atones for his mistakes.  If the last ten minutes don’t stir something inside you, there’s little chance any film will.

215px-Gone_baby_gone_posterGone Baby Gone (2007)

Private investigators Patrick Kenzie (Casey Affleck) and Angie Gennaro (Michelle Monaghan) see a local news report about Helene McCready (Amy Ryan) whose daughter has been kidnapped.  Smelling a profit, they reach out to Helene and her family to help find the missing girl.

It appears Amanda was abducted because Helene and her boyfriend “Skinny Ray” stole money from a drug lord, but uncovering the truth of her abduction reveals a complicated web of deception.

Casey Affleck is mesmerizing as Patrick.  He begins the film as a cynical private detective, but ends with a resolute idea of right and wrong.  Sadly, Casey’s career has been overshadowed by his brother Ben’s, and while the abysmal failure of I’m Still Here (2010) did not help, his work here and The Assassination of Jesse James by the Coward Robert Ford (2007) prove he’s a more than capable actor.

Amy Ryan’s an incredibly versatile performer: believable as Holly Flax, Michael Scott’s nerdy love interest in The Office, and as the competent, but shy Beadie Russell in The Wire, but her performance as Helene McCready is a career highlight.  Ryan’s Helene is a feral animal: trapped by her limited education, her family, her child, and her drug addiction, who sees the attention from her daughter’s kidnapping as a way out of her miserable life.  We recognize Helene has no business being a mother, but because of Ryan’s amazing work we still empathize with her.  Affleck is the moral center of film, but Ryan is its emotional core.

Morgan Freeman uses his public image and credibility as misdirection in his performance as Captain Jack Doyle.  We believe Doyle more than we should because we believe Freeman.

Ben Affleck’s directorial debut is a triumphant achievement.  He would direct the Best Picture winning Argo five years later, but this is, so far, his best film.  His directorial style is similar to another actor turned director: Clint Eastwood.  Both are technically proficient directors who don’t rely on trickery or special effects and strive to stay out of the way of the story as much as possible.  They understand what an actor needs and use this knowledge to get the most from their cast.

Author Dennis Lehane’s worldview is dark, but he maintains a glimmer of hope in humanity’s capacity to improve its lot.  To illustrate this, he tells intimate stories of ordinary people forced to confront the evil in the world.

This is a great movie, which asks uncomfortable questions: if a wrong thing can save a girl’s future, is it wrong?  Is it okay to cheat the system to get the desired result?

Deapartues (2008)

When Daigo Kobayahsi loses his job as cellist, he moves back into his childhood home with his wife.  Looking for work, he sees an advertisement for someone to “assist with departures.”  He assumes the job is with a travel agency, but soon learns it’s a mortuary.

In Japan, dealing with the deceased is “unclean” and being a mortician is humiliating.

Kobayashi is repulsed and ashamed of his accidental career.  His wife leaves him; his friend, Yamashita, disowns him.

When Yamashita’s mother dies, Kobayashi is asked to handle the encoffinment. He finds fulfillment in his duty, while his wife and friend realize the importance of his work.

Despite the numerous masterpieces from Kuroswa and Ozi, this was the first Japanese winner of the Academy Award for Best Foreign Language Film.

There are several breathtakingly beautiful scenes as Kobayashi washes and cares for the recently deceased. It’s hard to watch these scenes and not imagine your own deceased loved ones.

It’s a tad too sentimental in places, but this is inevitable in a film about the rituals of death. The movie demonstrates the common humanity we discover when we realize all paths lead to the same end.

Mr. Nobody (2009)

In 2092, science has evolved to render death obsolete; 118 year old Nemo Nobody is the last mortal on earth. A reporter tries to document Nemo’s life before he dies, but his life story is a series of seemingly impossible contradictions.

Nemo, like Billy Pilgrim in Slaughterhouse Five exists outside of time.  However, while Pilgrim could only move backwards and forwards in his own timeline, Nemo is able to travel through multiple timelines; he’s lived several lives and has memories of each.  In one timeline, he married Elsie (who’s in love with someone else).  In another, he fell in love with Anna (his step-sister from his mother’s second marriage).  In a third, he married Jeanne and had a family.

This film asks us to ponder the importance of the decisions in our lives and argues “there are no good or bad choices. It’s simply that each choice will create another life for you.”

Via a series of educational vignettes, it explains scientific concepts such as the Big Bang, the Big Crunch, chaos theory, the butterfly effect, and pigeon superstition, then explores the real world ramifications.

Jared Leto is one of my favorite actors.  From Requiem for a Dream (2000) to Dallas Buyers Club (2013), he’s always riveting, but it’s difficult to believe he’ll ever be better than in this movie.

Sarah Polley is great as Nemo’s emotionally disturbed wife, Elsie.  A fine actress, she’s an even better director: Away from Her (2006) is a devastating portrait of Alzheimer’s; Take this Waltz (2011) is a bittersweet movie about a dying relationship; Stories We Tell (2012) is a searing look at the lies families tell to function and survive.

Part Slaughterhouse Five, part Run, Lola Run (1998), part Amelie (2001), part The Curious Case of Benjamin Button (2008), part Cloud Atlas (2012), part advanced science lesson, part love story, part philosophical discussion: this a great movie I hope to watch many more times.

Jeanne Dielman Rising

Scorpio Rising (1964)

Kenneth Anger is hailed as one of America’s preeminent independent filmmakers.

He may very well be, but this film is little more than an elaborate home movie with a nifty soundtrack, including songs from Ricky Nelson, Elvis, Ray Charles, and Bobby Vinton.

With no dialogue, it’s a plotless, meandering look at Scoprio as he tinkers with his motorcycle.

The best thing about this movie: it’s only thirty minutes.

The film was the subject of a Supreme Court case because of brief images of graphic nudity, which I suppose makes it noteworthy.

Some might argue it has artistic merit, and their arguments are not invalid, but this is art too; artistic merit does not make a good movie.

Jeanne Dielman, 23 quai du Commerce, 1018 Brusselles (1975)

Chantal Ackerman’s film chronicles three days in the life of single mother Jeanne Dielman, highlighting the monotonous nature of the traditional feminine existence.

Jeanne’s days are filled with the same chores: she goes to the market, she cooks for her son. While her son is at school, she works as a prostitute (presumably to make ends meet).  Sex has become another chore in her life.

The movie is a series of static long shots of Jeanne going about her daily activities, meant to demonstrate how boring a domestic life is, bereft of intellectual and emotional fulfillment.

On the third day of our observation, Jeanne has an orgasm during a sexual encounter with her client.  Overwhelmed by the experience, she kills him with a pair of scissors.

This was a groundbreaking, daring film in 1975, but forty years later, it seems trite.  We’ve heard the same story many times already: from Kate Chopin’s The Awakening, through Mrs. Dalloway by Virginia Woolf, to Thelma and Louise (1991) and Erin Brockovich (2000).   The problem with this film: it’s so invested in making a political statement, it fails to create an interesting movie.

The Counselor should be ashamed of what he did in Vegas

The Counselor (2013)

Michael Fassbender plays a lawyer (the eponymous Counselor) who gets involved in a drug deal only to find he’s taken on more than he can handle.

Penelope Cruz is The Counselor’s girlfriend / fiancée.

Javier Bardem is Reiner, a drug dealer who convinces The Counselor to get involved in his business.

Cameron Diaz is Reiner’s girlfriend, herself a master criminal planning to double cross him.

Brad Pitt is Westray, a business associate of Reiner’s who warns The Counselor of the dangers of the drug business.

Directed by Ridley Scott and written by Cormac McCarthy (his first original screenplay), this should have been awesome, but it wasn’t.

McCarthy is the author of such classic modern novels as Blood Meridian, No Country for Old Men, and The Road, but he has a hard time working in the confines of a script.  This might have made a fantastic novel, but it doesn’t work as a movie.

The dialogue is occasionally poetic and lyrical, especially when The Counselor seeks the advice of drug kingpin, El Jeffe, but the story is uninspired and a pedestrian fait accompli.  When The Counselor gets involved in his first drug deal, we know it will end in death and misery.

Ridley Scott’s an accomplished director.  I love Alien (1979), Blade Runner (1982), Gladiator (2000), and Matchstick Men (2003), but I did not like this.

If you’re interested in a gripping story about a man’s descent into hell following his entry into the drug trade: watch Breaking Bad.  Walter White’s journey was fascinating because White was an indelible character, but The Counselor is not that interesting.

Shame (2011)

Because he’s addicted to sex in all of its forms (homosexual, pornography, prostitution), Brandon Sullivan (Michael Fassbender) is incapable of having a healthy relationship.  His addiction is so severe, he goes to the bathroom to masturbate while at work.  Sex is an act designed to make him feel good, not an expression of the love in a relationship.  Because he has so divorced the two, when he does meet someone he likes, he cannot perform sexually.

While Brandon has separated sex from a healthy relationship, his sister Sissy (Carey Mulligan) has fused the two and sees sex as the only way to express interest, throwing herself at men to validate her self-worth.

Brandon and Sissy Sullivan are flip sides to the same coin.  He’s a sexual predator who needs sex to feel like a man.  She enjoys being desired and will do anything to encourage a suitor.

Much has been written about Fassbender’s willingness to do the graphic nude scenes in the film, but his willingness to plumb such depths of depravity is more impressive than showing his private parts.

Carrie Mulligan is great as Sissy Sullivan.  In her relatively brief Hollywood career she’s turned in a string of phenomenal performances in An Education (2009), Never Let Me Go (2010), Drive (2011), Inside Llewyn Davis (2013), and the Doctor Who episode, “Blink”.  The scene where Brendan goes to see her performance as a nightclub singer and she sings “New York, New York” is searing.

Despite only directing three feature films, Steve McQueen has shown a rare willingness to make personal films about taboo subjects.  I applaud the film for tackling sexual addiction and the dangers of oversexualization.  Sexual urges are a part of our existence, to deny them is to deny a part of ourselves, but to indulge them completely is to create a world of people like Brandon and Sissy, people who define themselves by their sexuality.

My only complaint: it’s too careful to not take sides and be objective; some issues cannot be merely observed.

White, Blue and White (2014)

After Argentina won the 1978 World Cup, two of the team’s star players: Ossie Ardiles and Ricky Villa joined the English soccer club, Tottenham Hotspur.  With Tottenham, they won the 1981 FA Cup and became very popular players.

Ardiles and Villa were the two highest profile Argentines in Britain during the Falkland Wars.  This film documents the conflict between the land of their birth and their adopted home.

Sporting events provide a welcome distraction to the frustrations of our lives, but as this story demonstrates sometimes, sports allegiances create tension and uncertainty.

Viva Las Vegas(1964)

Lucky Jackson (Elvis) goes to Vegas to participate in a car race.  When he needs money to fix his car, he enters a talent contest where he meets Rusty Martin (Ann-Margaret); they fall in love.

All of this is irrelevant.  The movie is an excuse to watch Elvis in action.

It’s not earth shattering cinema, but it’s one of my favorite Elvis films.  The music is fun, the dancing is great, and Ann-Margaret is good (there are persistent rumors, Elvis thought she was pretty good off-screen as well).

Cool fact: Speed Racer was modeled on Elvis look during his auto race in this film.

Elmo holds a grudge

The Raid 2: Berandal (2014)

Immediately after the events of The Raid (2011), Rama is recruited to join an undercover task force.  He resists, but when his brother is killed, he agrees to protect his family.

To earn the trust of Bangun, a local crime lord, Rama is sent to prison to befriend Bangun’s son, Uco, and saves his life during a prison riot.  When he’s released, he’s given a position with Bangun’s organization.

Uco is desperate for his father’s respect, but when he reveals his plan for the organization, his father humiliates him.  Uco murders his father, but Rama escapes and confronts him in a final battle sequence.

Welsh director Gareth Evans has shown a penchant for filming inventing martial arts action sequences, specializing in pencak silat, or Indonesian martial arts.

I didn’t like The Raid: despite several inventive action sequences, the story was bland.  I had low expectations for a sequel, but the movie impressed me.  Evans combined the cool creative action pieces with a compelling story.  By providing us with characters we care about, the action scenes are more impressive.  This is a pretty good action movie, like Bruce Lee filmed a remake of The Departed.

Grudge Match (2013)

This is not a good movie, but it doesn’t deserve the level of scorn and invective hurled its way.

Stallone and DeNiro are aging boxers Henry “Razor” Sharp and Billy “The Kid” McDonnen.  Years earlier they had two epic fights: each winning one against the other.  They were set to fight in a rubber match but at the last-minute Razor dropped out, infuriating Kid.

Now in his twilight years, Razor is in need of money and promoter Dante Slate Jr. (Kevin Hart) convinces him to fight Kid one more time.  This is the best thing I’ve seen Kevin Hart, but since I’ve hated most of them, this is faint praise.

Kim Bassinger is Sally, Razor’s former girlfriend who cheated on him with Kid and got pregnant.  Razor has never forgiven her this indiscretion.  Remember when Kim Bassinger won an Academy Award in for LA Confidential (1997)?  Her career has included several high-profile roles; Vicki Vale in Batman (1989) and Bond girl Domino in Never Say Never Again (1983), but she’s never achieved the kind of success you might have expected.  Her later career has consisted of a lot of supporting roles in B movies like this.

LL Cool J has a small role as the owner of a gym who initially agrees to train Kid for the match, but thinks the aging boxer is a joke.

Jon Berenthal (best known as Shane from The Walking Dead) is the adult child of Sally and Kid.

Alan Arkin is Louis “Lightning” Conlon, Razor’s longtime trainer who’s also broke.  The role is a lighter version of Mickey Goldmill from the Rocky series.  Arkin’s had a long and successful career (winning an Oscar in 2006 for Little Miss Sunshine).  He’s a talented actor, but doesn’t get a chance to show it here.

This is the kind of movie we should expect from Sylvester Stallone.  His whole career post Rocky (1976) has been a long attempt to prove he can act.  He cannot; unless you expand the definition of acting to include memorizing and reciting large chunks of dialogue.  He’s won four Razzie Awards for Worst Actor for a reason.  Throughout his career, Stallone has played one character over and over again: Sylvester Stallone.  However, at the end of the day, he’s probably had the most substantial and impressive career of any bad actor.

Robert De Niro’s resume is as impressive as anyone: The Godfather Part II (1974), The King of Comedy (1983), The Untouchables (1987) Goodfellas (1990), but in recent years he’s been in some horrible movies: Little Fockers (2010), Last Vegas (2013) The Big Wedding (2013).  When given good material he’s still a capable actor: see Silver Linings Playbook (2012), but his late career has been mostly paycheck movies.  The body of his work puts him serious in contention for greatest actor of all time; it hurts to see him wasting time in middling movies like this.

Despite a few cringe inducing moments like Kid having sex in the back seat of his car while his young grandson sits in the front seat,  this movie mostly succeeds as light entertainment.

The Adventures of Elmo in Grouchland (1999)

Elmo refuses to share his favorite blanket with Zoe.  A tug-of-war ensues, and the blanket ends up in the arms of Telly Monster.  In a scene out of a Marx Brothers film, his blanket winds up with Oscar the Grouch who sneezes on it and throws it in his trash can.

Elmo dives into the trash can and winds up in Grouchland, where the evil Huxley (Mandy Patinkin) steals the blanket.  In order to retrieve it, Elmo has to get past the Queen of Trash (Vanessa Williams) and go to Huxley’s lair on Mount Pickanose.

The gang from Sesame Street tries to help, but are arrested by the Grouch Police.

It’s a sweet movie with a few light chuckles, perfect for a small toddler. Simple enough for them to understand everything; short enough to not lose their attention, and it involves everyone’s favorite resident of Sesame Street: Elmo.

I’m not embarrassed to admit I really liked this.  A lot of children’s films are unwatchable. The Oogieloves in the Big Balloon Adventure (2012), which also featured Mandy Patinkin, was an excruciating 87 minutes I wouldn’t wish on anyone, but I watched this with my three-year old and had a great time.

Like Alpha Papa, Like Son

Collateral (2004)

Max Durocher (Jamie Foxx) is a Los Angeles cab diver who dreams of his own limousine business.  Vincent (Tom Cruise) offers him $600 to drive him around for the entire night.  Despite some reservations, Max agrees, but soon, realizes Vincent using him to shuttle between his five targets for the evening (all of which are involved in an upcoming trial).

For the rest of the movie, Vincent attempts to complete his assignment while Max tries to thwart him.  At one point, Max throws out the list of targets and is forced to meet with drug lord Felix Reyes-Torrena (Javier Bardem in a wasted cameo) to obtain a second copy.

Mark Ruffalo is also wasted as a cop investigating the murders.  He comes close to saving Max, but is killed in a crossfire.  His death is used to inject suspense and unpredictability into the film.

Michael Mann has a penchant for lonely outcasts.   The Last of the Mohicans (1992) focuses on Hawkeye, a white man living amongst Native Americans.  In The Insider (1999), Jeffery Wigand is ostracized for exposing corruption at a big tobacco firm.  In Ali (2001), Muhammad Ali  is estranged from his family when he converts to Islam and isolated further when his popularity fades and money disappears as a result of his stand against the Vietnam War.

I wasn’t thrilled by the premise:  Tom Cruise as a bleach blonde assassin (in a clear attempt to reinvigorate his career by playing against type), but this was almost a great movie.

Cruise proves once again he’s more than a generic action star, and Foxx gives one of the best performances of his career.

The first two-thirds are excellent, especially the dialogue between Max and Vincent.  Sharp dialogue from men with opposing viewpoints is a hallmark of Mann’s films: Graham and Lecktor in Manhunter (1986), McCauley and Hanna in Heat (1995).

However, the final third of the film is an uninspired, generic action film.  Vincent’s last target is the district attorney assigned to Reyes’ case (Jada PInkett Smith) who was a passenger in Max’s cab earlier in the evening.  Max recognizes her photo in Vincent’s dossier, and haven fallen in love with her during their brief car ride together, inexplicably decides to take Vincent on himself.  Despite his inexperience with a weapon, cab driver Max outduels professional assassin Vincent.

I wish the movie ended a little earlier with a less cookie cutter ending, but it’s worth watching for the first hour.

Alan Partridge: Alpha Papa (2013)

With his career in jeopardy after his radio station is bought by a conglomerate, Alan Partridge convinces his superiors to fire his coworker Pat instead.  Pat returns to the station with a gun, and Alan is sent to negotiate the release of the hostages, but his massive ego and social awkwardness continually get in the way.

The character of Alan Partridge was created in the early 1990s by Steve Coogan, Armando Iannuci, and Patrick Marber for the British radio show On the Hour.   A parody of British television presenters and radio announcers, the character has remained a mainstay in British popular culture for twenty-five years.

Partridge is a conservative, mostly talentless hack.  He’s a shameless self-promoter, whose career seems to perpetually advance despite his inexhaustible capacity for major screw ups.

Coogan rose to prominence in a series of silly comedies, including Hamlet 2 (2008), Tropic Thunder (2008), and the Night at the Museum films, but his recent work has transitioned into more dramatic roles in the excellent What Masie Knew (2012) and Philomena (2012).  I’m excited to see what direction his career will take.

Armando Iannuci’s television programs The Thick Of It and Veep are two of the best political satires in recent memory.  The political aspect of Partridge is clearly influenced by Iannuci’s sensibilities

Patrick Marber’s influence is more puzzling.  He began his career as a comedian, but he’s most well-known as a screenwriter for Closer (2004) (based on his own play) and Notes on a Scandal (2006).  Marber’s work is focused on sexual politics, which doesn’t appear to be a focal point of the Partridge character, although there is an undercurrent of misogyny and homophobia.

Colm Meaney is the desperate Pat Farrell.  Meaney is a sort of nerd shibboleth.  Many will hear his name and instantly recall their favorite episode of Star Trek: The Next Generation or Deep Space Nine because for over a decade, he played Miles O’Brien in the Star Trek universe.  It’s a little jarring to see him in a non Star Trek capacity, but he’s very funny in a thankless role; if he strikes the wrong tone, the movie could become very unfunny in a hurry.

Coogan clearly enjoys playing Partridge; his obvious enthusiasm permeates the film, but the movie is not as fun or witty as it thinks it is.  It’s like a sophisticated, British version of Airheads (1994): a moderately amusing comedy, with only a few genuine laughs.  It’s a funnier idea than a movie.

Like Father, Like Son (2013)

Ryota Nonomiya discovers his biological son was switched at birth; the child he’s raised for six years is not his.

When Ryota learns of  the mistake, he’s not interested in the feelings of his wife or the boy who lives with them, he wants to have “his” son and return the child who sees him as a father to the family to which he “belongs.”

Ryota is so consumed by the idea of a perfect life, he cannot process the messy reality of raising someone else’s child or (even worse) having some else raise his.

By the end of the film, Ryota has reexamined his ideas of family and fatherhood.  What makes a family?   What makes a father?  Is a father a biological fact or a relationship?

Forced to confront his own preconceptions, Ryota is a better father and a better person for the experience.

Hirokazu Koreeda is a talented director who turns what could have been a Lifetime Movie into something more substantial: an exploration of the nature of family.  It’s not a great movie, but it does have a sweet, intelligent center and asks important questions.

I Want My Shakespeare!

Romeo + JulietRomeo + Juliet (1996)

Baz Lurhmann’s film is Shakespeare filtered through MTV.

The reason this works while other adaptations of Shakespeare have failed is because they left the Shakespearean dialogue alone, while modernizing the presentation.  By making it like a new MTV video with Shakespearean language, this adaptation highlights the language and forces us to pay even more attention to it.

Released one year before Titanic, this is the beginning of Leonardo DiCapprio’s ascent to superstardom.

The role of Juliet was originally offered to Natalie Portman, but producers were uncomfortable with how young she seemed in her scenes with DiCapprio.  Fortunately, Claire Danes is exactly how I would have imagined Juliet.

The fantastic supporting cast includes Paul Sorvino, M. Emmet Walsh, Paul Rudd, John Leguizamo, Miriam Margoyles, and Pete Postlethwaite.

Watch this just to be reminded how great Shakespeare can be when done well.

24 hour intervals in Paradise

Days of Heaven (1978)

Days of Heaven (1978)

Terrence Malick’s second major film, Days of Heaven contains many of what would become his defining characteristics: it’s slow and plodding, beautifully composed, and filled with Biblical allusions (in this case the story of Abram and Sarai in Egypt).

Richard Gere has never been more understated.

The plot is simple, but has one major hole: why do Bill and Abby pretend to be brother and sister?.

While the story is easy to describe, the movie manages to create a good deal of suspense.

The film is composed like a series of paintings; the plot is an excuse to move towards the next set piece.

This is a beautiful film, maybe the most beautiful Malick film which makes it a must see.

Lucky Mary took a Machine with her to the Sun

Mary Poppins (1964)
Mary Poppins (1964)

Mary Poppins (1964)

One of my favorite films as a child is still one of my favorite films.  It’s not exactly a faithful adaptation of the source material, (Mary is more pleasant than in the books) but it gets the essence of P.L. Travers’s stories right.

Julie Andrews won an Oscar for Mary Poppins, and she’s been nominated two other times, but since the mid 1980s, her films have been mostly children’s fare like the Shrek series and The Princess Diaries (2001).   Her most iconic roles, Mary Poppins and Maria Von Trapp, are fifty years old.  I wish she hadn’t been typecast in wholesome, family films because she was great in Thoroughly Modern Millie (1967) and Victor / Victoria (1982), showing promise as a comedienne in slightly racy and provocative comedies.

Why did Dick Van Dyke not have a more substantial film career?  Critics savaged his attempt at a Cockney accent, but Bye Bye Birdie , (1963) and Chitty Chitty Bang Bang (1968) were excellent films.    However, his work since has been sporadic, like his extended cameos in Night at the Museum(2006).  Of course, his work in The Dick Van Dyke Show assures him a place in Hollywood history, but it seems like his film career was less than it should have been.

David Tomlinson’s career was unremarkable until he starred as Mr. Banks in this movie.  After this film, he had a fruitful association with Disney in The Love Bug (1968) and Bedknobs and Broomsticks (1971).  Because these films were massively successful with children, Tomlinson will be remembered decades after his death.

Elsa Lanchester plays the nanny who preceded Mary in the Banks household.  Thirty years earlier, Lanchester played the titular Bride of Frankenstein (1935).  The two movies could not be more different; any excuse to connect them is awesome.

Largely forgotten today, Ed Wynn plays Uncle Albert who keeps laughing himself to the ceiling. Wynn was a vaudeville and early radio pioneer,  but he’s best remembered as the voice of the Mad Hatter in Disney’s Alice in Wonderland (1958).

Jane Darwell was in almost two hundred movies in her fifty year career, but she’ll be remembered for two: she was Ma Joad in Grapes of Wrath (1940) and the Bird Lady in this film.

I’m a huge fan of this picture; it’s a rare movie for children which takes children seriously.  The formula: a thin plot about the importance of family, some cheerful musical numbers, a moment or two of poignancy,  with a dash of cute animation is the template for nearly every child oriented movie since.

The Machinist (2004)
The Machinist (2004)

The Machinist (2004)

Trevor Reznick is a machinist suffering from insomnia, which causes him to question his sanity.  The mysterious cause of his insomnia is the impetus for the plot of this film.

The story is not as well developed as it could have been, and has been done better elsewhere, but Christian Bale’s performance as Reznick is astounding.  He proved his commitment to his craft by drastically losing weight to simulate the look of an emaciated, tortured man.  Occasionally, his intense preparation can lead to trouble, but if anyone doubts his commitment to a role, watch this movie.

His dedication elevates this thin movie, but it’s not enough to save it from fading into obscurity.  Bale’s willingness to punish himself for his art is commendable, but I wish he had done it for a better movie.

Sunshine (2007)
Sunshine (2007)

Sunshine (2007)

It’s 2057 and the sun is dying.  Several scientists are sent on a mission to launch a nuclear bomb into the sun as a sort of cosmic jumpstart.

Of course, there are complications.

Unfortunately, the movie falls apart after the crew of Icarus II finds the Icarus I (their predecessor sent unsuccessfully to accomplish the same task).  Captain Pinkbacker of Icarus I purposefully sabotaged the mission because he believed God wanted humanity to die.  Of course, Pinkbacker is miraculously still alive and manages to sneak on the Icarus II, intending to sabotage it as well.

In the history of movies, has a rescue mission to an unexpected spaceship ever gone well?  Every time a protagonist finds an abandoned spaceship and goes to “explore” what happened, someone or something nefarious manages to sneak back onto their ship.  The lesson: don’t be a good Samaritan in space.

Once Pinkbacker boards Icarus II, the movie devolves into a clichéd action film, which is regrettable because the it didn’t need this unnecessary plot twist.  The dialogue heavy beginning of the movie where the various scientists assigned to the mission express their beliefs and prejudices was fascinating. and asked a lot of provocative questions.

What type of person signs up for a dangerous mission like this?  Some of them wanted adventure, some of them felt a calling to help their fellow man, some of them wanted glory.

What happens to the chain of command when you’re millions of miles from earth with no communication with the outside world?  Why should you listen to your captain?

Cillian Murphy rose to prominence with 28 Days Later (2002), which alongside the Resident Evil series reinvigorated the zombie genre.  He was excellent as The Scarecrow in Batman Begins (2005), helping lay the groundwork for Christopher Nolan’s adaptation of the character by creating a villain which manages to conform to comic book aesthetics and be grounded in real world fears and concerns.  Murphy has developed a niche playing people with questionable ethics in science fiction / comic book adaptations, but this film is the wrong vehicle for him.  His Robert Capa is too much of an outcast, and not enough of a hero.

There’s a reason Chris Evans keeps getting pushed as a superhero; he looks like he walked out of central casting for the genre.  He was The Human Torch in Fantastic Four (2005) and its 2007 sequel, and he’s currently starring as Captain America in the Marvel Cinematic Universe.  Luckily, Evans has shown a desire to be more than just a superhero.  His work in Scott Pilgirm vs. the World (2010) and more importantly Snowpiercer (2013) show real promise, but his work in this film as Mace the ship’s engineer is only mildly interesting.

Troy Garity, the son of Jane Fonda,  is Harvey, the second-in-command of Icarus II.  Garrity was excellent as an idealistic political journalists in the Kelsey Grammer vehicle Boss, but he doesn’t make a large impression in this film.

Mark Strong (Captain Pinkbacker) oozes evil.  Even when his character isn’t the main bad guy in the movie, you instinctively believe he will be.

I can’t decide if I like Danny Boyle’s films or not.  I love Trainspotting (1996); it’s an effective and haunting view of the horror of addiction.  28 Days Later (2002) is a slightly better than average zombie movie.  Slumdog Millionaire (2008) is a fun subversion of the Bollywood genre.  127 Hours (2010) is a decent film about survival and overcoming adversity, but fairly forgettable.  Trance (2013) is a horrible movie; it wants to impress with its labyrinth plot, but unearned surprises and twists do not make a good movie. This movie was a missed opportunity.  It had potential, but the script didn’t trust itself and midway through turned to genre clichés to limp toward its inevitable conclusion.

Lucky Number Slevin (2006)
Lucky Number Slevin (2006)

Lucky Number Slevin (2006)

This is a convoluted story of revenge and unintended consequences.  Twenty years ago, Max got a tip about a fixed horse race.  He bet heavily on the race, but the horse died before he could reach the finish line.   To repay his debt as a warning to others, Max and his family were executed by two mobsters: The Boss (Morgan Freeman) and The Rabbi (Ben Kinglsey).

Josh Hartnett has a difficult task as Kevin Slevera.  Like Willis in The Sixth Sense (1999), he can’t give anything away, but he has to provide enough clues so on a second viewing it becomes obvious what’s happening.  He does his job, but the script lets him down.  Hartnett has intentionally eschewed tent pole films to avoid the trappings of fame and celebrity, but he is a very talented actor.

Mr. Goodkat is a stereotypical Bruce Willis part: slow delivery with way too much self-awareness.  This is not Willis’s best work.  He got his break as a comedic performer on Moonlighting but after Die Hard (1989), he realized he could make a lot of money turning out similar action films with letter effort.  He’s a bankable star, who likes going to the bank.

The difference between Willis and his friends and fellow action stars Sylvester Stallone and Arnold Schwarznegger: he can act.  Stallone has tried, but isn’t capable of being anyone but Stallone, while Schwazrnegger has never tried.  Watch Willis in Pulp Fiction (1994), 12 Monkeys (1995), The Sixth Sense (1999), Moonrise Kingdom (2012), and Looper (2012), and it’s obvious with the right material, he can be a really great actor, but because of his action pedigree, he’s underrated.

When I think of Lucy Liu, I think of the Kill Bill  and Charlie’s Angels series: action movies with a martial arts flavor.  She’s a credible love interest in this movie, showing me something I hadn’t seen from her before.

Morgan Freeman and Ben Kingsley were seemingly hired to be non-Italian mobsters.  Freeman is not menacing enough for the role, although his late career arc is full of bad guy roles trading off his popular image like Wanted (2009) and Now You See Me (2013).  Kingsley, however,  is a menacing presence.  For a guy who started his career playing Mahatma Gandhi and played Itzhak Stern in Schindler’s List (1993), it’s surprising how effective he is as a ruthless SOB.  He proved in Sexy Beast (2000) there aren’t many who can out evil him.

I’ve loved Stanley Tucci since his work as Richard Cross in the inventive (and ahead of its time) cop show Murder One.  He hasn’t had a lot of leading opportunities, but has become an all-star supporting actor.  He’s very good as the cop assigned to investigate The Boss and The Rabbi, but the role is not particularly flashy.

I love Robert Forster and any production which includes him in its cast is a little better as a result.

This movie has a lot going for it: an all-star cast and a fun revenge story, but writer Jason Smilovic gives away too much in the opening sequence in a misguided attempt to plant clues to support his twist ending.  When Goodkat kills someone in the opening sequence, we know this death is intended to throw us off the scent and not trust him.  We instinctively know Goodkat is really a hero,  and we know   Max’s death will be avenged.  The twist ending becomes an inevitable conclusion.  This could have been a fun, Pulp Fiction esque film, but it can’t get out of its own way.