For once, British director Joe Wright ditched his period pieces and gave us a contemporary story about a journalist and a homeless person in urban Los Angeles, based on a nonfiction best-seller.
Steve Lopez (Robert Downey Jr.) is a staff writer-columnist at the Los Angeles Times. In searching for a story, he comes in contact with a mentally unstable homeless man named Nathaniel Ayers (Jamie Foxx), who plays the violin beautifully. Nathaniel tells Lopez he studied the cello at Juilliard Arts in the 70s. When his background checks out, Lopez's got his story.
He seems to have forgotten about the guy until a reader asks Lopez to give Nathaniel her cello. Suddenly, the homeless man becomes Lopez's responsibility. He tries to help Nathaniel, who suffers from schizophrenia, but the man refuses to take medications or get help to stay off the street. Lopez succeeds in coercing Nathaniel to enroll in the LAMP, a community center for the homeless. His desire to "fix" Nathaniel meets with his own conflict about how far he should go, and when Nathaniel's schizophrenia turns violent, Lopez considers walking away for good.
Jamie Foxx (The Kingdom) does great work here as the schizophrenic musical prodigy. His characterization includes speaking a hundred words per minute, eccentric behaviors and body twitches, but he always seems intelligent and articulate and educated. Nathaniel also seems kind, warm and hurt. Foxx's portrayal is sympathetic and touching, without going overboard with the acting, reminding us of Dustin Hoffman in Rainman. The biggest part of the story, however, rests on Robert Downey Jr.'s (Tropic Thunder) shoulders. Downey has a more difficult role: a morally ambiguous man who is caught off guard by his own conscience and kindness. Downey seems a bit off in the beginning, probably trying to find his way to distinguish this journalist from the one he played in Zodiac. But eventually he finds his stride and gives one of his best performances.
The supporting cast includes Catherine Keener (Hamlet 2) as Lopez's ex-wife and editor. Her role is too peripheral to make a real impact, but in many ways she serves as Lopez's Jiminy Cricket and keeps the plot moving. Tom Hollander (Valkyrie) also has a small role as a musician, Graham Claydon, who tries to help Nathaniel return to his music. The film also casts real-life homeless people in some of the film's most fascinating, almost documentary-like moments.
Adapted from his own bestseller, journalist Steve Lopez cowrote the screenplay with Susannah Grant (Erin Brockovich) with a clear aim of not over-sensationalize and dramatize the story. They choose to tell the story straightforwardly, mostly from Lopez's perspective. The screenplay is surprisingly down-to-earth, downplaying the emotional roller-coaster that would otherwise have made the film a heartstring tugger. It's not to say the script is emotionally detached and distant. But the writers try their best not to be sappy and preachy. It's mostly low-key, without the expected crowd-pleasing, soaring climax and a Cinderella finish. In fact, the story stays true to real-life and offers no quick fix or real resolutions.
It's not to say the screenplay is perfect. While Nathaniel's story is intriguing, the core of the story is really about Lopez's own growth as a human being. It's basically a coming-of-age story for Steve Lopez, and at times the story feels somewhat one-sided. They try to counterbalance it with a few flashbacks of Nathaniel's past, but they come off as forced and ineffective, especially since they break the point of view (which is mostly Lopez's). Nathaniel's backstories could be better served through Lopez's own eyes and ears as he interviews Nathaniel's relatives and former friends.
Still, director Joe Wright (Atonement) manages to put it all together. It's not an easy story to tell, with no clear dramatic arc or a definitive ending, the story is more reflective and contemplative. Wright has a great eye as a director, and he's a superb stylist, as witnessed in his previous acclaimed works. His lush style, however, sometimes seem at odds with the contemporary setting and the gritty reality. Los Angeles, for example, looks at once a utopia and a dystopia. Perhaps his stylistic choices are meant to demonstrate the dichotomy and contradiction of our societies, but they don't always work as they're designed to.
The music, however, is extraordinary. This is, after all, a movie about music, and the score mixes Dario Marianelli's affecting original material with Beethoven's magnificent classics as well as contemporary pieces that frame our times. At one point, as Beethoven's Symphony #3 is being played in the background, the audience is treated to a Fantasia-esque sequence that not only helps us understand the power of music, but also understand what is going on inside Nathaniel's confused head. Also superb is Wright's decision to include real homeless people from the infamous Skid Row in the cast. As one "character" recounts her day and her philosophies, we can't help but listen and marvel as the reality of what these people deal with every day stares us in the face.The Soloist is a masterfully crafted human story about humanity and humility, and manages to bring forth a discussion that most Americans don't want to talk about or even acknowledge. It is thought-provoking without being melodramatic about it. It's a unique story about two men, each of whom feels like he has to fly solo in life. Don't we all feel that way at least sometimes?
Stars: Jamie Foxx, Robert Downey Jr., Catherine Keener, Tom Hollander
Director: Joe Wright
Writers: Susannah Grant, Steve Lopez (based on Lopez's non-fiction book)
Distributor: Universal
MPAA Rating: PG-13 for thematic elements, some drug use and language
Running Time: 109 Minutes
Ratings:
Script – 7
Performance – 8
Direction – 7
Cinematography – 8
Music/Sound– 9
Editing – 7
Production – 8
Total – 7.8 out of 10
Cal McAffrey (Russell Crowe), an investigative reporter for the Washington Post, is doing a story on a seemingly random drug-related homicide. When a young congressional aid, Sonia Baker (Maria Thayer), dies in a subway accident, Cal's attention shifts to his friend and college roommate, Congressman Stephen Collins (Ben Affleck). Baker was the lead researcher for Collins in a congressional case against a private military company named Point Corp. It appears that Collins and Baker also have a romantic relationship. Washington finds its new political scandal and Collins is asked to lay low, thus jeopardizing his position in the Point Corp. hearings.
While Collins is doing damage control, Cal obtains new leads and realizes that the homicide and Baker's death may be related. In fact, he's convinced that Sonia Baker was murdered. With the help of a rookie reporter, Della Frye (Rachel McAdams), and the reluctant support of his boss, editor Cameron Lynne (Helen Mirren), ambitious Cal risks his life by digging deep, deliberately holding evidence and information from the police so he can get his story first.
Russell Crowe (American Gangsters) is a true actors' actor. Here, he's put away his movie star charisma, gained twenty pounds, and disappeared under a full head of unkempt hair to play the gruff reporter. His performance is solid and intense. He certainly carries the movie. Rachel McAdams (The Lucky Ones) holds her own against Crowe in a smaller role as an ambitious reporter who may have bit off more than she could chew. Crowe and McAdams make a good team, but this is essentially Crowe's show.
Ben Affleck (He's Just Not That Into You) seems out of place. It's not as if he didn't look the part as a young, hot shot politician. But his performance is the weakest link and his public persona as the movie star also hinders the role he plays. Helen Mirren (Inkheart) is always wonderful and she makes no exception in playing the editor with certain roughness, ruthlessness, and heart.
The all-star cast also includes Robin Wright Penn (Beowulf) as Collins's wife, who is tired of living a lie and carries a torch for Cal. Jason Bateman (Hancock) is effective as a douche who has pivotal information for the investigation. Jeff Daniels (Traitor) has a few good scenes as a corrupt politician. Michael Berresse (AI) is creepy as the assassin, and Harry Lennix (Across the Universe) does a good job as an unsympathetic police detective.
Based in the 2003 acclaimed, hit British series, State of Play is written by Matthew Michael Carnahan (Lions for Lambs), Tony Gilroy (Michael Clayton) and Billy Ray (Breach), all veterans of political thrillers and dramas. The adaptation moves the story to the States, but the plot remains close to the original. The writers are top-notch in weaving the intricate plot twists and mystery, creating great tension and suspense. The dialogue is sharp and the plot unfolds in an organized and structured way that is never confusing, even with the number of plot threads and characters.
Those who are observant and smart enough would probably figure out the plot twists, but they're great twists nonetheless. The writers put tremendous thoughts into the storytelling, keeping their tricks close to the vest. They also attend to great details in terms of journalistic operations and police procedures. There are a few places where the plot and characterization seem forced. For example, the final revelation seems somewhat contrived. But such flaws are minor and they don't impact the overall quality of the film.
Kevin Macdonald's (The Last King of Scotland) direction is taut, suspenseful, and detailed. He gives us a great sense of what investigative journalism is about without sacrificing the pace and character development. He makes great use of juxtapositions, foreshadowing, and tension building, as well as effective misdirection to create mystery and suspense. The result is a nail-biting cinematic experience and a thriller that does not rely on big explosions and outrageous plot wrangling. There is no end-of-the-world scenario; the stakes seem intimate. In fact, the thriller is refreshingly human, psychological, and personal.
Rose (Amy Adams) is a single mom with a young son, Oscar (Jason Spevack). Rose is a former cheerleader and is having an affair with her married ex-boyfriend, Mac (Steve Zahn), who is a cop. When the hyper-imaginative Oscar is deemed "unsuitable" for his elementary school, Rose wants to send him to a private school, but she doesn't make a lot of money as a maid. Mac pulls some strings for her and suddenly she finds herself cleaning up biohazards at crime scenes.
She needs a partner in this lucrative business, and the only person she can count on is her aimless sister, Norah (Emily Blunt). With the help of Winston (Clifton Collins, Jr.), the kind owner of an industrial cleaning supplies store, Rose starts to learn the robes and begins to expand her business. Suddenly she's making really good money, but the job doesn't come without some drawbacks. It's gruesome, disgusting, and depressing. Meanwhile, Norah is haunted by her past experience while trying to solve a mystery involving a woman who died alone in her filthy apartment.
Amy Adams (Doubt) is an extraordinary actress who has deservedly garnered attention in the past few years. She has great range, and here, she plays a desperate single mother to great sympathy. Her character is flawed, but you feel for her, and her every triumph or mistake. Adams' wonderful performance makes us care deeply about her character. Blunt (Charlie Wilson's War) plays a different character. Norah is irresponsible and emotionally hollow. As we find out more about her and her demons, Blunt's spot-on performance draws great sympathy and empathy from the audience. She and Adams also have great chemistry together.
Alan Arkin (Marley & Me) plays yet another wiseass grandpa like he did in Little Miss Sunshine (both has sunshine in their titles -- coincidence?). But he's just so good in those roles. Jason Spevack (Hollywoodland) does a good job with Oscar without coming off as yet another irritating brat. Steve Zahn (Rescue Dawn) has grown up, now playing mature and serious roles. He's slightly miscast but it could just be my own prejudice. And Clifton Collins Jr. (Star Trek) is effective as the quiet Winston. He's one of these "good guys" character that you can't help but feel comfortable with.
First-time scribe Megan Holley has written an understated screenplay with an interesting premise. The idea alone is a smart choice, but what Holley does to it, while not completely original, is heartfelt and intriguing. There is no high drama (well, except for a house fire scene), and the plot develops gradually and organically. What Holley does well is develop great, three-dimensional characters that are flawed but sympathetic. Their relationships feel genuine and their problems seem real. There are a few subplot that feels a bit tagged on, however, and the story could have been streamlined better.
Christine Jeffs' (Sylvia) direction is laid-back and as-a-matter-of-fact, which fits the story perfectly. Jeffs also doesn't editorialize or moralize the story. The characters are flawed and they often make wrong choices, but Jeffs is not passing any judgment, and the audience is encouraged to do the same. Therefore, the story feels genuine and has a quiet strength to it. Some plot points are somewhat implausible. For example, there's no way a cop would give that business to someone without a license and insurance!
Minor hiccups aside, the film has a solid script, excellent performances, and a warm core. It's a sliver of indie sunshine through the clouds of big budget humdrum of late.
James (Jesse Eisenberg) is a gawkish college grad who has everything planned out: he's going to travel around Europe with his best friend throughout the summer of 1987 before heading to New York to attend grad school at Columbia. His plans are dashed when his father got downsized. Instead, James has to find a summer job. He ends up working at an amusement park, Adventureland, near Pittsburgh.
Assigned to tending the parlor games, Jesse is bored out of his mind. He gets to meet an eclectic group of college kids who also work at the park. And thanks to his good nature and a bag of weed his best friend gave him, James becomes quite popular among these people, including beautiful and perfect Em (Kristen Stewart). James and Em eventually gets involved, but only cautiously as they've both been emotional hurt before. Behind the sweet and innocent facade, Em has personal issues, and she's secretly having an affair with the resident stud, married maintenance man Mike (Ryan Reynolds).
Meanwhile, virginal James is enjoying his new found popularity -- even beauty queen Lisa P. (Margarita Levieva) is hitting on him. James is too kind and naive for his own good, and considerate to a fault. Confused about what he wants and caught between lies and desires, James learns a few lessons before the summer ends.
Jesse Eisenberg (Cursed) has a strangely affection demeanor, and is perfectly cast as James. He is a self-awared dork, but also charming and handsome at the same time. Eisenberg has a natural way of conveying that awkwardness as a guy stuck between being clueless and confident. He makes us believe in the character, who is aware of his inadequacy but also totally unaware and uncomfortable with being attractive.
As the object of his affection, Kristen Stewart (Twilight) is aloof, enigmatic, and agreeable. She's beautiful enough to make us believe all the guys are secretly (or not so secretly) in love with her. However, Stewart lacks the ability to really jump out of her own skin -- her portrayal is somewhat wooden. She's not a very expressive actress, and perhaps that is an advantage she has for playing the enigmatic Em.
The supporting cast do their jobs very well. SNL pros Bill Hader and Kristen Wiig are fun as the goofy park managers. Martin Starr (The Incredible Hulk) plays the quintessential nerd/loser to perfection. Margarita Levieva (The Invisible) is spot on -- from the big hair to the dance moves to her make-up and body language -- as a 80s sex kitten. And Ryan Reynolds (Definitely, Maybe) is both cocky and vulnerable as the womanizing douche.
Written and directed by Greg Mottola (Superbad), the script is surprising un-Superbad-like. The marketing of this film does it a disservice but positioning it as yet another teenage sex comedy. The fact is, Adventureland is a coming of age romance set in the 80s. It's more dramatic than comedic, and has the kind of sincerity and melancholy that are rare in youth comedy. The plot is rather sparse -- there is a "slice of life" feel to it, with the story spanning one summer, and a cast of eclectic characters. The story is almost episodic sometimes, with an over all arc detailing James' growth and his relationships with everyone. The dialogue is witty but not over the top comedic (with the exception of Bill Hader and Kristen Wiig's characters, who are mostly there for comic relief).
If the plot seems slight, it's because it is. There are not a lot of stakes in the story, and much of it is frankly trivial. It's a boy-meets-girl story at the core, with a healthy serving of coming of age. What it does well, though, is the re-creation of the era. Anyone who grew up in the 80s would appreciate the authentic look and feel. It may be easy to duplicate the hair, the make-up, the cars, the music, but I give kudos to Mottola for creating an atmosphere that takes me back in time. The 80s to Adventureland is the 50s to The American Graffiti.