© 2012 Ray Wong
Zero Dark Thirty
The biggest manhunt in recent history has been brought to you by the filmmakers who gave us the Oscar-winning The Hurt Locker. Given all the award buzz surrounding Kathryn Bigelow's newest film, I can't help but feel rather underwhelmed by the actual movie.
After 9/11/2001, Maya (Jessica Chastain), a CIA analyst, is recruited in a mission to track down Osama Bin Laden. Working within a team of field operatives, which includes Dan (Jason Clarke) and Jessica (Jennifer Ehle), Maya has to work with limited information provided by captured terrorists through unspeaking means such as torture and coercion. Even then, Maya has to use her judgment to discern which pieces of information is valid, and connect the dots as she goes along.
The manhunt turns into a decade-long obsession for Maya. Her boss, Joseph Bradley (Kyle Chandler), has better things to do, thus leaving Maya and her team to do whatever is necessary. Maya's investigation leads her to a man named Abu Ahmad, who she believes is a covert courier for Bin Laden. She believes that if they can find Ahmad, they will find Bin Laden.
Unfortunately for Maya, her instincts and ability are met with scrutiny and resistance from within her own organization. But Maya believes she is right, and after a tragedy strikes, Maya's quest becomes even more personal for her. Against all odds and obstacles, and after almost 10 years working solely on this mission, Maya realizes she has now found Bin Laden.
Jessica Chastain (The Help) is an amazing actress. Maya is a resourceful, intelligent, and headstrong character that Chastain takes no time to sink her teeth into. Maya has a job to do and she delivers. Same with Chastain -- her demeanors could be construed as brash, unapologetic and yet she can also be doubtful and vulnerable. Chastain did a remarkable bringing the character to life and carrying the movie, even though the story doesn't allow a glimpse to her personal life, thus making her character somewhat one sided.
Jason Clarke (Lawless) is Dan, a CIA operative who works closely with Maya. Clarke also does a good job portraying someone who has a job to do and will do anything to get it done. Both their characters hover on the border of moral rightness, but they also know that the end will justify the means. Jennifer Ehle (The King's Speech) is effective as Maya's coworker who is too emotional, as opposed to Maya, to do her job.
The large supporting cast includes Kyle Chandler (Argo) in an adequate performance as Maya's boss, but I have trouble distinguish this with his character in Argo. Mark Strong (John Carter) has a brief but strong performance as George, one of those men up the chain of power. James Gandolfini (Killing Them Softly) is interesting as the Director (they never said his name, but we all know he plays David Patraeus). Rounding out the cast is Chris Pratt (The Five Year Engagement) and Joel Edgerton (The Odd Life of Timothy Green) as members of the SEAL team that finally nailed Bin Laden.
Written by Mark Boal (The Hurt Locker) based on extensive research and declassified information, the screenplay is a taut exercise of procedural thriller. Almost no dialogue is wasted in this tight but long story (at over 2 1/2 hours), and there isn't a lot of room for anecdotal character development. The result is a fascinating and precise drama/thriller in the vein of David Fincher's Zodiac. The trouble with that kind of movie is that it lacks the emotional impact of a character-driven drama. At times, I caught myself thinking, "This is slick and great, but it's like a really good but long episode of CSI."
Don't get me wrong, under Kathryn Bigelow's (The Hurt Locker) direction, the movie is captivating. Bigelow and Boal also make no judgment for or against the controversial topic of torture. The movie makes a clever and deft reference to the "transition" as the Bush era ends and Obama becomes the President, but they never linger or make apologies. What is depicted on screen is a group of people dedicated to their job: to protect the American people, and to find Osama Bin Laden.
As masterfully made as it is, Zero Dark Thirty lacks the emotional connection that a strong thriller/drama about such an important mission should have. What has transpired often feels too calculated and cold. We really don't know much about these characters except for what they do on the job. We get a glimpse of Maya's personal life (or the lack of), but not enough to form a complete picture of her character. Even the famous conclusion of the story, I find myself unable to connect or empathize. What we get is a great procedural thriller that no one needs to see twice.
Stars: Jessica Chastain, Kyle Chandler, Jason Clarke, Jennifer Ehle, Mark Strong, James Gandolfini, Chris Pratt, Joel Edgerton
Director: Kathryn Bigelow
Writer: Mark Boal
Distributor: Columbia
MPAA Rating: R for strong violence, brutal images, language
Running Time: 157 minutes
Ratings:
Script - 7
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 8
Total - 7.6 out of 10.0
© 2012 Ray Wong
As star Hugh Jackman said, Les Misérables is the Mt. Everest of all musicals. Possibly one of the most beloved musicals of all times, the film version is long overdue (27 years to be exact). Under the risk-taking direction of Oscar-winning director Tom Hooper (King's Speech), the film is a triumph is many ways.
The story follows the protagonist, Jean Valjean (Hugh Jackman) from the time he was on parole after serving a 20-year sentence for stealing a loaf of bread. Downtrodden, Valjean decides to steal from a priest (Colm Wilkinson) and gets caught, but the priest's act of kindness opens Valjean's eyes to the meaning of love and respect, and he vows to use the priest's gift to start anew. Valjean breaks parole and disappears, and Inspector Javert (Russell Crowe) vows to track down and bring Valjean to justice.
Years later, Valjean becomes a factory owner and mayor of a small town under a fake name. Due to his negligence, a worker of his, Fantine (Anne Hathaway) is tossed out on the street. Fantine later succumbs to prostitution and becomes very ill. Knowing what he did, Valjean vows to dying Fantine that he will take care of her daughter Cosette (Isabelle Allen).
Eight years later, the students in Paris are staging a revolt against the oppressive government. One of the students, Marius (Eddie Redmayne), however, is smitten by Cosette (Amanda Seyfried), now a beautiful young lady. Their young love, however, is cut short when Javert is hot on Valjean's trail again. When Marius is wounded at the barricade during a battle, Valjean risks his freedom and saves Marius. Through Marius and Cosette, Valjean finally finds the meaning of true love and salvation.
Hugh Jackman (The Prestige) is arguably one of the few actors who can play Valjean in this film musical. Known as an action hero and a romantic leading man, Jackman also has the musical theater training to prepare him for the role of a lifetime. His Valjean is physically impressive but soulful and gentle and virtuous. Jackman gives an affecting and sincere performance and anchors the entire film. As his antagonist, Russell Crowe (The Next Three Days) has taken a different approach to playing the famous inspector. Here, Crowe gives Javert a soul and the kind of vulnerability you don't expect. His rock-opera singing voice may not be the best in the cast, but Crowe's nuanced performance is a welcome interpretation.
Anne Hathaway (The Dark Knight Rises) is the standout here, what with her dedication to playing the doomed, tragic Fantine. She's given a tour-de-force performance and in just one show-stopping number, I Dreamed a Dream, Hathaway has propelled herself as the frontrunner in this year's Oscar race, and deserves all the accolades she's been getting. Likewise, Eddie Redmayne (My Week with Marilyn) surprises and delights as the love-sick Marius. Redmayne has a beautiful voice, but more important, he brings a boyish, innocent charm and deep emotions to the often underwritten role (at least on stage).
Equally underwritten in the stage musical is Cosette, often serving as a plot device rather than a true character. But Amanda Seyfried (In Time) manages to give her a voice and make us believe that she is the light for Fantine, Marius and Valjean. Samantha Barks is also excellent as Eponine, the poor girl who is secretly in love with Marius. Sasha Baron Cohen (Hugo) and Helena Bonham Carter (The King's Speech) give the serious film much needed comic relief as the Thenardiers.
Adapted from the popular musicals, which itself is an adaptation of Victor Hugo's classic novel, the screenplay actually is better developed than the book by Alain Boublil and Claude-Michel Schönberg. William Nicholson (Gladiator) has done a fine job matching the musical with Hugo's original material, making small and big changes that make the story more sensible and, in many ways, more gritty and real than the musical spectacle. For example, Fantine's descent to her despair is now more evident and believable.
Still, the material has to work with the confine of the musical structure. Director Tom Hooper has made some risky decisions that may or may not have worked, depending on who you ask. The die-hard fans may have trouble understanding or accepting the changes he made, and people who are not familiar with the musical may not understand his vision. The most important decision Hooper made was that he insisted on the actors singing live, instead of lip-synching to pre-recorded soundtracks. The result is an amazingly emotional roller-coaster ride as the actors are free to make their acting choices while singing live.
To enhance that emotional impact and be even more "up close and personal," Hooper chose to film the actors, especially during their solos, with close ups and unconventional camera angles. The result may not be completely pleasing -- in fact it may unnerve many people who are not used to such cinematic techniques -- but the close ups and strange camera work heighten the emotions to a level that is almost overwhelming. For example, the unflinching long single-shot close-up of Anne Hathaway's I Dreamed a Dream is overpowering, and the Dutch angles and fast editing during the Lovely Ladies sequence made me uncomfortable and feeling queasy, exactly the way I should be feeling. Despite some missteps (the frantic editing may not always work), Tom Hooper is a genius.
Les Misérables does have its flaws. It's not a perfect film by any means. It's not going to convert non-musical audiences to avid fans. It may not please the die-hard fans of the stage show. Tom Hooper's unconventional direction may irk some people who expect a sweeping epic. But despite all that, Hooper has succeeded in bringing the two forms -- musical and film -- together on an epic, larger-than-life scale that offers both the intimacy and sweeping vistas that the stage show cannot. It's an emotional ride with a rousing score and a beautiful message. It's les incredible!
Stars: Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Samantha Barks, Sasha Baron Cohen, Helena Bonham Carter, Aaron Tveit
Director: Tom Hooper
Writer: William Nicholson (based on musical by Alain Boublil and Claude-Michel Schönberg, novel by Victor Hugo)
Distributor: Universal
MPAA Rating: R for suggestive and sexual material, violence, thematic elements
Running Time: 157 minutes
Ratings:
Script - 8
Performance - 9
Direction - 8
Cinematography - 9
Music/Sound - 9
Editing - 7
Production - 8
Total - 8.2 out of 10.0
© 2012 Ray Wong
We can always count on Judd Apatow, the guy who gave us The 40-Year-Old Virgin and Knocked Up, for a good laugh. But Mr. Apatow's racy comedies are always more than just being raunchy. In fact, I can tell that This is 40 is the most personal movie he's made so far.
Pete (Paul Rudd) and Debbie (Leslie Mann) are a happily married couple with two young daughters living in Los Angeles. Both of them are turning 40, within a week, and both of them are trying to cope with it. Debbie's main concerns are her aging body, her slowly slipping happiness, and her marital life. Pete's main concerns are his flaccid career as a music label owner, his boring family life, and his libido. Rather typical, mundane "white middle-class" problems, right? But everything seems to escalate as their respective birthdays approach.
They argue more and more, often over tiny, mundane things. Debbie believes that Pete is not attracted to her anymore, and Pete is so afraid of Debbie's judgment that he's hiding his problems from her. A lot of tension starts to build between them. Fortunately, to celebrate Debbie's birthday, they are able to take a short break away from it all and rekindle some of the love and magic between them. But as soon as they return home, reality hits even harder.
As Pete's business continues to falter and he gets more and more distracted by his problems, Debbie becomes more and more depressed about herself and her family. They are both under a lot of pressure but they don't seem to be able to communicate and connect and work it all out. Then they decide to blame everything on their children and respective fathers (Albert Brooks and John Lithgow).
Paul Rudd (The Perks of Being a Wallflower) has that market of affable guy-next-door type cornered. As the family man who is facing his mid-life crisis, Rudd is his usual charming, goofy self with a nice dose of snark and indifference to make him a jerk, too. There's a fine line between sympathetic and unlikable, and Rudd traverses that line rather skillfully. Leslie Mann (The Change-Up) can be whiny sometimes, but she does her best here as she tackles a complex character who is rather disillusioned about how her life turns out.
It's interesting that Apatow has cast Maude and Iris Apatow, the real-life daughters of Leslie Mann and his, as Pete's and Debbie's daughters. It clearly is a family affair -- if only Judd Apatow would play Pete instead of Paul Rudd. The girls are rather good as the slightly spoiled but mostly responsible daughters. To complete the family picture, Albert Brooks (Drive) and John Lithgow (New Year's Eve) play Pete's and Debbie's paternal units respectively, having done their respectable job portraying these irritating and unlikable characters.
The cast also includes Jason Segel (The Five-Year Engagement), Megan Fox (Friends with Kids), Chris O'Dowd (My Sister's Sister) and Charlyne Yi (All About Steve) in small supporting roles.
Writer-director Judd Apatow's signature style is evident in this production, right from the very first scene. There's no shortage of raunch and adult situations in his comedies. The fact that his wife and children play the wife and children of Pete makes me wonder if the story is highly autobiographical. In a way, This is 40 is very personal in nature, filled to the brim with everyday situations, mundane details and anecdotal episodes of life. And in a way, this is Apatow's most accessible, yet "mundane" offering so far.
The dialogue is sharp and witty and funny, of course, and many moments will make us chuckle. Still, because the movie covers so much "everyday materials" that sometimes it feels tedious and exhausting. Parents, however, may get a kick out of the situations and relate -- having to deal with our children and parents, while contemplating what life is about and how to be happy in the confine of our responsibilities and desires. Apatow tackles many deep and broad themes here. Sometimes he succeeded. Sometimes he failed.
As a comedy, there is no shortage of laughs and uncomfortably funny situations. As a drama, there are certainly deep themes and serious topics. As a combination of both, at times the movie drags and becomes very unfocused, especially with a slew of supporting characters that don't necessarily add to the plot. Things become muddled, before Apatow steers the ship clear again and delivers a rather heartfelt, if a bit too simplistic, ending.
This is the second time that Judd Apatow tackles the question of being 40. It seems like a rather significant point in his own life. The result is something personal, funny, insightful but also unfocused and uneven.
Stars: Paul Rudd, Leslie Mann, Maude Apatow, Iris Apatow, Jason Segel, Megan Fox, Chris O'Dowd, Albert Brooks, John Lithgow
Director: Judd Apatow
Writer: Judd Apatow
Distributor: 20th Century Fox
MPAA Rating: R for sexual content, crude humor, pervasive language and some drug material
Running Time: 134 minutes
Ratings:
Script - 7
Performance - 7
Direction - 7
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 7
Total - 7.0 out of 10.0
© 2012 Ray Wong
How could director Sasha Gervasi (Anvil: The Story of Anvil) do a sort-of biopic about one of the most iconic directors of all times? Ask Oscar-winning actor Sir Anthony Hopkins to play Alfred Hitchcock, of course.
Hitchcock in a way is less of a biopic but more of a behind-the-scene movie about the making of Hitchcock's seminal horror film, Psycho. On the keel of the success of North by Northwest, Alfred Hitchcock (Anthony Hopkins) is deemed too old to repeat that success. Indignant of that notion (he is, after all, only 60 years old) and defiant of his perceived limitation, Hitchcock is determined to shock the world when he comes across the novel Psycho. The director is fascinated by the subject matter, even as his wife Alma (Helen Mirren) and financial backers deem it too violent and grotesque. Instead, Hitchcock decides to put his own money into making the movie, by mortgaging his estate.
Hitchcock hires blond bombshell Janet Leigh (Scarlett Johansson) as the leading lady and a relative unknown Anthony Perkins (James D'Arcy) as the leading man in his new film. He also includes Vera Miles (Jessica Biel), with whom Hitchcock has a complicated history, to play a role. The eccentric director is under a lot of stress, even with the support of his loyal agent Lew Wasserman (Michael Stuhlbarg), assistant Peggy (Toni Collette) and of course devoted wife and creative partner.
In fact, Hitchcock is so wrapped up in his film and personal drama -- and his strange obsession with his leading ladies -- that he ignores Alma. Frustrated with the lack of affection and attention, Alma seeks solace in a new friend, dashing writer Whitield Cook (Danny Huston). Alma and Whitfield are working on Whitfield's new screenplay, but Hitchcock suspects they are having an affair. When Hitchcock confronts his wife, she unleashes her pent-up resentment and threatens to upset their rocky marriage.
Sir Anthony Hopkins (Thor) goes under extensive make-up and dons a full-body fat suit to look like Hitchcock. In a way, he doesn't really look like the iconic director, but Hopkins does wonder with his voice and body language to convey the essence of one of the most recognizable figures in movie history. Helen Mirren (Arthur) looks nothing like the real Alma Reville, but Mirren gives Alma a distinct voice and personality and fire.
Scarlett Johansson (The Avengers) does her best portraying Janet Leigh and by and large she's captured Leigh's effervescent personality. Toni Collette (Mental) is sharp as Peggy, Hitchcock's right-hand woman who has to navigate through the men's world of Hollywood. Michael Stuhlbarg (Lincoln) is earnest as super agent Wasserman, and Danny Huston (Stolen) is savvy as Alma's potential love interest, and Biel (Total Recall) is delightful as Ms. Vera Miles. But James D'Arcy (Cloud Atlas) bears an uncanny resemblance of Anthony Perkins in looks and mannerism that it is rather unnerving.
Written by John J. McLaughlin (Black Swan), the screenplay uses the making of Psycho as a backdrop for the personal drama between Hitchcock and Alma. In a way, it really is a love story between the famed director and his lesser-known wife. In every way, Alma is Hitchcock's equal partner in both his personal and professional life, but so little is known about Alma Reville that McLaughlin has to do a lot of research. Even though it is personal in nature, the screenplay is light and breezy in tone, and pays great homage to the men and women who made Psycho a reality.
Oscar-winning documentary-maker Sasha Gervasi ventures into scripted drama and does an adequate job. His direction is straightforward and no-frill. The camera work and color palettes may seem bland at times, but Gervasi uses his documentary skills well when re-creating the sets of Psycho. There is somewhat surrealism watching these famous actors playing other famous actors making a famous movie.
Unfortunately, Hitchcock is too lightweight and comical to be a serious contender in this upcoming award season, even though the cast, Hopkins and Mirren in particular, has given commendable performances. Still, the movie is a delight, and it's entertaining. It gives us a bit more insight into Hitchcock's life, especially with regard to his wife, and it is fun to watch. I think Alfred Hitchcock himself would have approved.
Stars: Anthony Hopkins, Helen Mirren, Scarlett Johansson, Danny Huston, Toni Collette, Michael Stuhlbarg, Jessica Biel, James D'Arcy
Director: Sasha Gervasi
Writers: John J. McLaughlin (based on book by Stephen Rebello)
Distributor: 20th Century Fox
MPAA Rating: PG-13 for some violent images, sexual content and thematic material
Running Time: 98 minutes
Ratings:
Script - 7
Performance - 8
Direction - 7
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 8
Total - 7.3 out of 10.0
Flight
Actor-writer John Gatins spent 12 years trying to get Flight made. One thing led to another, and Paramount agreed to make it once Denzel Washington and Robert Zemeckis came onboard. It is definitely a work of passion.
Just hours before Captain Whip Whitaker (Denzel Washington) has to pilot a plane from Orlando to Atlanta, he is still boozing and snorting coke and having sex with a crew member. Before the flight, Whip violates the law again by drinking. When the plane malfunctions and nosedives, Whip makes a call and flips the plane upside down and thus averts a disaster that could have killed everyone onboard. Four passengers and two crew members die, however.
Whip is quickly hailed the hero. However, before he can celebrate and bask in his glory, he is being investigated for having been intoxicated while piloting the plane. He's helped by his friend Charlie (Bruce Greenwood) and lawyer Hugh Lang (Don Cheadle), who tries to convince Whip to get sober while they try to clear his name. While at the hospital, Whip meets recovering drug addict Nicole (Kelly Reilly). Nicole tries to stay clean and convince Whip to seek help, but Whip doesn't want any of that.
As the pressure mounts, Whip becomes more stressed and depressed, and he turns to booze and drugs to cope. That's the last thing he should be doing while he faces his hearing. He also becomes increasing out of control, and Nicole decides to leave him so she won't sink with his ship.
Denzel Washington (Unstoppable) won a Best Actor Oscar for playing a villain. Here, he once again plays an unlikable character, who is so deep in his own shit that he can't see the light. Deep down, the character isn't a bad person, but he is arrogant (he is the only person who could have done what he did, and thus he was the hero who saved all those lives including his own), stubborn, and often abrasive and unkind to others. Washington walks a fine line portraying this character, giving us enough to empathize but never a reason to condone his actions. He's given an impressive performance.
Kelly Reilly (Sherlock Holmes) surprises with her delicate portrayal of a junkie who is in dire need for help. Her performance, in comparison, is quieter and more understated, and thus provides a nice counterpoint to Washington's bravado. John Goodman (Argo) receives great Oscar buzz for playing Whip's drug dealer, and for a good reason. Bruce Greenwood (Super 8) and Don Cheadle (Iron Man 2) are both solid in their supporting roles. Melissa Leo (The Fighter) has a brief but commanding role as well.
John Gratins's (Real Steel) screenplay is very serious in tone and themes and subject matters. It deals with alcoholism, drug abuse and faith head-on without apologies. The dialogue and the plot are thoughtful and serious. At times, I do feel that Gratins preaches too much. It feels like a message movie. Also, Whip just isn't a very likable, although Gratins tries to give him many dimensions. But realistic since Whip is an alcoholic, he is realistically portrayed and written as an ass. The problem is that it makes it more difficult for the audience to identify and empathize. It's a risk that Gratins has to take, and I give him kudos for that.
Still, it makes it hard to really like this story or the characters. Nicole is a more sympathetic character and she serves as a nice counterpoint to Whip. Still, this is really Whip's show, so the parallel arcs don't really work. Also, the reasons for Nicole's sobering up isn't well explained.
The direction of Robert Zemeckis (A Christmas Carol), who took some much needed time off, is solid. The film has a gritty, realistic look to it, which serves the material just fine, if not entirely aesthetic. The pacing though seems uneven. There are some slow parts of the story where the plot doesn't seem to move at all. The plot seems to have stopped just to develop the characters some more. The crash scene is good, but not as amazing as Zemeckis's other crash scene in Cast Away.
While Denzel Washington gave a wonderful performance as the flawed man, this is not an easy movie to love. It just feels too heavy, without a lot of humor, and preachy. While the performances are strong and the direction solid, the movie never quite takes flight.
Stars: Denzel Washington, Kelly Reilly, John Goodman, Don Cheadle, Bruce Greenwood, Melissa Leo
Director: Robert Zemeckis
Writer: John Gatins
Distributor: Paramount
MPAA Rating: R for drug and alcohol abuse, language, sexuality, nudity and intense action sequence
Running Time: 138 minutes
Ratings:
Script - 7
Performance - 8
Direction - 8
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 8
Total - 7.5 out of 10.0
© 2012 Ray Wong
The crowd-pleasing feel good movie of the year has arrived, and it's aptly called Silver Linings Playbook. Based on Matthew Quick's popular novel, the movie touches on the wide spectrum of emotions with quirky but likable characters, albeit being predictable and contrived at times.
Pat (Bradley Cooper) has been in a mental hospital because of a plea bargain following a mental breakdown that resulted in him almost killing a fellow teacher in an outburst of rage. It happens that Pat's wife had been cheating on him with said teacher. Pat finally snapped, and was promptly diagnosed as being bipolar. After eight months, Pat's mother (Jacki Weaver) has had enough so she asks the court to release Pat, and she takes Pat under her wings since Pat has lost his job, his house, and his wife.
Living under his parents' roof again and trying to adjust back to real life has not been easy for Pat. He tries to do his best, and he's going to therapy, but he also makes a conscientious choice to win his wife back, who has since moved on. Meanwhile, his best friend Ronnie (John Ortiz) tries to set him up with his sister-in-law Tiffany (Jennifer Lawrence), who recently became a widow when her cop husband was killed in a freak accident while trying to be a good Samaritan. Tiffany is going through a lot herself, and she was fired from her job by sleeping with 11 people at her workplace.
Pat is instantly attracted to Tiffany, but mentally he is trying very hard to resist and avoid her because his mind is set on winning his wife back. Tiffany, who has access to Pat's wife, agrees to help Pat if only he would do something for her in return. Meanwhile, Pat is trying to reconnect with his father by engaging in one of the few passions they share: The Philadelphia Eagles. Pat's long and strange road of recovery hinges on how well he connects with his family, friends and Tiffany.
Bradley Cooper (The Words) has risen to leading man status relatively quickly based on his Sexiest Man Alive good looks and crowd-pleasing materials he's been presented with such as the Hangover series. However, Cooper has yet to prove his acting chops which is strange since he came from theater. With the character of Pat in Silver Linings Playbook, I think Cooper has finally found his groove. Despite his good looks, Cooper is perfect as the mentally unbalanced man who struggles to find himself. He's shown a good range in his finely tuned performance.
Likewise, Jennifer Lawrence (The Hunger Games) has risen to stardom relatively quickly since her breakout performance in Winter's Bone. Here, she shows a different side which I think is more in line with the actress's true identity than her character in The Hunger Games. She and Bradley Cooper have great chemistry together despite their age difference, and that is key to the success of this movie.
The supporting characters are hilarious but great. Robert De Niro (Being Flynn) nails it in one of his most affecting roles in recent years. In truth, his character is no less neurotic than his bipolar son, and through that hard Italian shell you can see how much he loves his son. That's great acting. Jacki Weaver (The Five-Year Engagement) is wonderfully understated and subtle as Pat's doting mother. John Ortiz (Public Enemies) is fantastic as Pat's best friend, and Julia Stiles (Between Us) is suitably uptight as his wife and Tiffany's sister. Chris Tucker (Rush Hour), however, stands out like a sore thumb among the other seasoned actors. Mr. Tucker has a great presence, but his acting is a bit rusty (and his role seems irrelevant as far as the story is concerned).
Written and directed by David O. Russell (The Fighter), the screenplay adheres to the book's themes and arcs but also deviates from them, and that's a good thing. For example, it plays up the relationship between Pat and his father, and that's a welcome change. Russell himself deviates from his past efforts, too but manages to stay close to his root at the same time. While Silver Linings Playbook is a romantic comedy of sorts and features some outrageously funny characters and situations, it doesn't stray far from the working class characters, grit, and nuances of The Fighter or Three Kings. The writing is sharp, witty and insightful, if at times frantic and somewhat chaotic. But Russell has done a great job developing the characters while moving the plot along without relying too much on stereotypes or shortcuts. There are subtleties in the writing and direction that it may take a second or third viewing to notice.
That said, the direction can be somewhat frantic at times. Given the frantic nature of the characters, I think the director gets a bit too involved, and as a result, some scenes become too frantic and lack the needed objectivity or some narrative distance. Also, the concept of the ballroom dancing competition and the ending are somewhat contrived and predictable. It veers towards the mainstream which is at odds with the premise and first half of the story, where everything seems so fresh and unusual and original. In comparison, the ending simply feels overdone and too crowd pleasing, if not for the two leads who bring down the house with their affecting chemistry and performances.
There's been a lot of Oscar buzz surrounding Silver Linings Playbook, and I can understand why. It's a roaring, feel-good dramedy about broken people who have serious personality flaws. It's a crowd pleaser. It is very funny. And it has very touching moments as well. And the leads have done marvelously. Still, I think if we take a step back, we will start to see the cracks. It's not a perfect film but boy will you have a great time watching it. That itself is a silver lining.
Stars: Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker, Anupam Kher, John Ortiz, Julia Stiles
Director: David O. Russell
Writers: David O. Russell (based on novel by Matthew Quick)
Distributor: Weinstein Company
MPAA Rating: R for language, sexual content and nudity
Running Time: 122 minutes
Ratings:
Script - 7
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 8
Editing - 7
Production - 8
Total - 7.9 out of 10.0
© 2012 Ray Wong
Deemed to be an unfilmable book, Life of Pi by Yann Martel, to quote director Ang Lee, is a philosophical book about faith and storytelling. Even with the adventures in the middle, the story in fact lacks a true plot and relies mostly on two characters: a young man and a Bengal tiger.
While working on his next book in India, a young writer (Rafe Spall) receives a tip from an Indian man who insists that his nephew, Pi Patel, has a story that will make anyone believe in God. Intrigued, the writer travels back to Montreal to find Pi (Irrfan Khan), who proceeds to tell him his life story and the fateful events that forced him to question the existence of God.
Pi is an inquisitive boy while growing up in the French-Indian country where his family owns and operate a zoo. Even as a boy, Pi questions the truth about God, and he becomes a Hindu, Christian and Muslim at the same time, much to his father's chagrin. The changing political climate in India convinces Pi's father (Adil Hussain) to move the family to Canada. While crossing the Pacific on a Japanese freighter, a storm hits and sinks the boat, killing everyone onboard including Pi's family.
Out of sheer luck, Pi escapes in a lifeboat with an injured zebra, an orangutan, a hyena and a Bengal tiger named Richard Parker. Much to Pi's despair, the hyena kills the zebra and the orangutan before Richard Parker kills the hyena. Knowing the tiger will turn to him after it has devoured the other animals, Pi builds a raft and tries to avoid Richard Parker. Days turn into weeks and weeks turn into months, and when food and water become scarce, Pi knows that he will need to share his resources with Richard Parker if he wants to survive, and the only way he can do that is to tame the tiger.
Irrfan Khan (The Amazing Spider-Man) plays the older Pi. He doesn't have a lot of screen time, mostly serving as a reference character in a frame story. His quiet and thoughtful mannerism does convey a more mature and philosophical Pi. Rafe Spall (Prometheus) is less convincing as the writer. I find his performance and the role underdeveloped, almost as a plot device and not a real character.
Gérard Depardieu (Dumas) has a small role as a French cook, but he makes the best of it as a nasty brute. Indian actors Tabu and Adil Hussain are both good as Pi's mother and father respectively. But the star of the movie is newcomer Suraj Sharma. While not the best actor in the world, Sharma has a natural talent and charisma that make us care about his character, and he carries most of the movie admirably, with the help of only a CGI tiger most of the time. We can't tell that this is Sharma's very first acting job!
Well, I suppose the REAL star of the show is the CGI tiger. Recreated mostly with CGI using four tigers as references, Richard Parker is a marvel of modern cinematic magic.
Writer David Magee (Finding Neverland) has the thankless job of attempting Yann Martel's famed but difficult and introspective novel. Magee has to streamline the novel to make it more cinematic while finding a structure that works for film. By and large he's succeeded, especially with the middle of the story when Pi tries to survive. I am not sure about the framing story though. I understand what he tries to accomplish, as it is as much a story about faith as it is about storytelling, but I find the frame lacking in urgency, relevance, and cinematic value. It also distances the audiences from the central narrative (which, in the book, is told in first person). The first-person narration helps, but emotionally it feels distant as the older Pi is too calm and collected, almost detached. Compared to the "meat" of the central story, the frame pales drastically.
I also find the dialogue somewhat on the nose and earnest. Yes, this is a story about faith, but does it need to be spelled out every chance we have?
It doesn't help that director Ang Lee (Brokeback Mountain) breaks the adventures with the older Pi cutting in with his narration. That's distracting and an equivalent of an "author's intrusion." The ending also feels lukewarm as we try to process what we've seen and what the story really means. It lacks a significant payoff.
That said, technically the movie is spectacular. The cinematography is gorgeous from the scenes in India (with the exception of the scenes in Canada -- that looks like an afterthought) to the scenes in the Pacific. In addition to the Bengal tiger, the shipwreck, and the ferocious ocean, there are too many "wow" moments to mention. The movie is full of cinematic wonders that often juxtapose Pi's ordeal and struggles with a dreamlike quality of surrealism. In Lee's vision, the ocean is majestic and spectacular and frightening and lonesome and calming and inspirational all at once. I believe Life of Pi deserves an Oscar nomination, if not a win, just for Richard Parker himself, if not for the over all technical achievements.
So it's sad for me to say that Life of Pi turns out to be somewhat a disappointment. I wish Ang Lee and David Magee had dropped the framing device and plunged right in Pi's first-person narrative and engulfed us with Pi's adventures through and through. I also wish that they didn't overplay the spiritual aspect of the novel, which I found rather overbearing at times. Still, there is so much to like and marvel about this movie that I recommend that you go see it and come to your own conclusion.
Stars: Irrfan Khan, Suraj Sharma, Gérard Depardieu, Rafe Spall, Tabu, Adil Hussain
Director: Ang Lee
Writers: David Magee (based on novel by Yann Martel)
Distributor: 20th Century Fox
MPAA Rating: PG for emotional thematic content, some scary action sequences
Running Time: 127 minutes
Ratings:
Script - 7
Performance - 7
Direction - 8
Cinematography - 9
Music/Sound - 8
Editing - 8
Production - 10
Total - 7.7 out of 10.0
© 2012 Ray Wong
After 50 years and six lead actors, how do you manage to make an old franchise fresh and exciting again? Four years after the lackluster Quantum of Solace, audiences around the world begin to question if there is still life in James Bond, especially with Daniel Craig in the iconic role. Fortunately for us, Craig's third outing as Bond proves to be his best, yet.
Skyfall opens in Istanbul, with Bond (Daniel Craig) in hot pursuit of an assassin who has stolen an encrypted hard drive containing a list of MI6 field agents' identities. The highly sensitive information will completely destroy MI6 and their operations if it gets out, and M (Judi Dench) is determined to secure that list. She makes a fateful decision that almost gets Bond killed, and in the process she loses the list.
A few months later, a terrorist attack on MI6 headquarters in London jolts M to realize that their security has been compromised. More important, the terrorist has a personal axe to grind with M. Bond reemerges from his "death" to pursue the man behind the curtains, which leads him in a wild goose chase through the streets of Shanghai, Macau and back to London. Eventually, he tracks down the terrorist, Silva (Javier Bardem), who used to be an MI6 agent.
Silva tries to convince Bond to join him in his crusade. He rationalizes with Bond how silly they would work for their country when someone like M could give an order to get them killed without blinking an eye. Instead, Silva can do whatever he wants with what he knows and what he can do. Bond's moral compass is shaken when he questions his own mortality and loyalty. More important, he starts to questions M's trust and his own patriotism.
Daniel Craig (The Girl with the Dragon Tattoo) has both hardened and softened as Bond in his third and most demanding film as James Bond. Physically, Craig is commanding and extremely convincing as the suave but brutal agent. And yet he allows us to continue to peel off another layer and see into Bond's soul and sentimentality. Through Craig, whose steely eyes are as lethal as they are sensitive, we get to see a softer and human side of the world's most famous super spy.
Judi Dench (The Best Exotic Marigold Hotel) reprises her pivotal role as M with similarly steely and yet sensitive quality. At the beginning of the movie we get to see M's brutal and apparently insensitive side (just to get the job done). But as the movie clips along, we realizes M cares too much, and her character unravels before our eyes, and that makes her a vulnerable character. Ralph Fiennes (Wrath of the Titans) does a good job as M's boss, Gareth Mallory -- his character doesn't have a whole lot to do here, but we figure he will be featured more prominently in future films.
As the baddie, Javier Bardem (Eat Pray Love) is creepy, frightening, and yet hilarious at the same time. How this actor can appear so charging and handsome in one film (Eat Pray Love) and hideously creepy in another is a testament of his acting prowess. There is one homoerotic scene between him and Craig that is laugh-out-loud funny, bizarre, and creepy at the same time. Kudos to both actors to playfully pull that off.
Albert Finney (Big Fish) makes a much-appreciated appearance as Bond's old friend Kincade. Ben Whishaw (Cloud Atlas) is an interesting choice for a new Q. The Bond girls have surprisingly meatier roles. Naomie Harris (Miami Vice) sparkles as fellow MI6 agent Eve, and French actress Berenice Marlohe puts in some good work as the complex Severene.
The screenplay by Neal Purvis, Robert Wade, and John Logan is surprising streamlined and straightforward. This has, by far, one of the easiest-to-follow plot in any Bond films. Don't get me wrong; it still has all the requisite elements of a good Bond film: the structure, the thrills, the actions, the steamy Bond sex. But I am impressed with the character development. I'm also impressed that they choose to turn the story personal, especially in the third act when Bond returns to his childhood home. His history is slowly revealed but there is still so much we don't know about James Bond, and he's not one to divulge. Nicely done.
Director Sam Mendes (American Beauty) adds a rare prestige to the production. It may seem strange for an Oscar-winning director well known for his dramas to direct a Bond film, but it works beautifully. Mendes manages to stay within the Bond formula but also expand on it, making it personal, character-driven, and relevant at the same time. But what's a Bond film without cars, chases, gadgets and actions? The action sequences are incredible; we can only marvel at the inventiveness especially after 50 years of Bond action. The images are stunning, and the actions are easy to follow (none of that convoluted close-ups and shaky cams) and thrilling. The sequences in Asia are spectacular.
And then Sam Mendes does something incredible. Amongst all that mayhem and destructions and thrilling actions, he manages to make us care deeply about the characters. In particular, the relationship between M and Bond is complex, at times humorous, and subtly and nicely explored. Well done.
Skyfall is one of the best Bond films I have seen… in all of its 50 years' history. Add to that we also have one of the best Bond songs in recent memory, courtesy of Adele. The perfect storm and the outrageously talented people have finally given us a Bond film that is worthy of all the praises and may one day become a true classic.
Stars: Daniel Craig, Judi Dench, Javier Bardem, Ralph Fiennes, Naomie Harris, Berenice Marlohe, Albert Finney, Ben Whishaw, Rory Kinnear
Director: Sam Mendes
Writers: Neal Purvis, Robert Wade, John Logan
Distributor: Columbia
MPAA Rating: PG-13 for intense violent sequences, some sexuality, language and smoking
Running Time: 143 minutes
Ratings:
Script - 7
Performance - 8
Direction - 8
Cinematography - 9
Music/Sound - 8
Editing - 8
Production - 9
Total - 8.0 out of 10.0
© 2012 Ray Wong
As the title suggests, The Impossible chronicles the ordeal of a family during the 2004 Tsunami disaster in Southeast Asia, and how they defied the impossible odds to survive and find one another.
Henry (Ewan McGregor), Maria (Naomi Watts) and their three sons Lucas (Tom Holland), Thomas (Samuel Joslin) and Simon (Oaklee Pendergast) are vacationing in Thailand from Japan for the holidays. Maria has temporarily quit her job as a doctor to care for the three boys, while Henry is on the verge of losing his lucrative job. But all of their problems seem to suddenly disappear as they face the unthinkable when a tsunami hits their vacation villas.
Maria is seriously hurt but manages to reunite with Lucas. Together they help each other survive until nearby villagers rescue them. Soon, they are taken to a local hospital which is teeming with injured survivors. It's when they realize how much the tsunami has destroyed. Hundreds of thousands of people, including visitors like them, have their lives completely changed. Meanwhile, Maria and Lucas believe that Henry and the other two boys are dead. Clinging to each other, they must keep on living as Maria's injury is threatening her life.
Meanwhile, Henry and the boys have survived, against all odds. But Henry holds on the belief that Maria and Lucas are still alive, and he sends the boys to the mountain shelter while looking for his wife and oldest son. The search seems impossible, and the odds of ever finding them -- alive, no less -- become more and more impossible as days pass.
Naomi Watts (J. Edgar) gives a tour-de-force performance as Maria. Her suffering is difficult to watch, and often she has no dialogue, just her facial expressions and body languages to convey her pain, anguish, and love for Lucas. It is a tremendous performance. Ewan McGregor (Salmon Fishing in the Yemens) does a good job, too, but in an odd way his is the least impressive.
Most impressive is Tom Holland (The Secret World of Arrietty) as Lucas. The boy has some serious acting chops and holds his own against Naomi Watts, as they share the most screen time together. The chemistry between the two is incredible, making us believe in the bond between them as mother and son. The two other boys, Samuel Joslin and Oaklee Pendergast, also impress with their innocent and no-frill performances that just make our heart ache. Geraldine Chaplin (The Orphanage) lends her regal appearance in a heartfelt scene.
Written by Sergio Sanchez (The End) based on the true story of the Belon's family, the story is rather straightforward and heavy on coincidences. The filmmakers understand how implausible it may seem, and rely on our suspension of disbelief that it is all about fate. How one can survive something like that -- not to mention the entire family. How impossible it is for the family to reunite after being separated by such devastation. The theme is all about fate and coincidence, and they play up some of the impossible events, mostly due to the limit of trying to tell the story in such a short time.
The lack of significant dialogue is offset by many sequences of intensely emotional scenes and actions. Under Bayona's (The Orphanage) direction, the movie is gripping, intense and frightening. The tsunami scenes are some of the most realistic I have ever seen, and they truly impress. While sometimes overtly sentimental and sappy (a line that Bayona crosses even as the story itself is emotional -- I think he could have toned that down without sacrificing the emotional impact), the film includes many haunting images with stunning performances from the stars as well as the background actors.
The Impossible is an emotionally gripping, intense story that hits us with the full force of tsunami waves. Despite its occasionally sentimental flaws, it is impossible not to be affected by this movie.
Stars: Ewan McGregor, Naomi Watts, Geraldine Chaplin, Tom Holland, Martha Etura, Samuel Joslin, Oaklee Pendergast
Director: Juan Antonio Bayona
Writers: Sergio G. Sanchez (based on Maria Belon's story)
Distributor: Summit
MPAA Rating: PG-13 for intense realistic disaster sequences, brief nudity
Running Time: 114 minutes
Ratings:
Script - 7
Performance - 9
Direction - 8
Cinematography - 9
Music/Sound - 8
Editing - 8
Production - 10
Total - 8.0 out of 10.0
© 2012 Ray Wong
David Mitchell's Cloud Atlas is one of those critically acclaimed novels that are deemed to be unfilmable. Somehow, Andy and Lana Wachowski (the Matrix series), together with Tom Tykwer (The International) manages to make a mostly-coherent epic out of it.
I won't even detail the plot, as the movie contains not one, not two, but six different stories with totally different characters. However, these stories and characters are linked not only by a clever story construct, but also by themes. In late 19th century, a trader named Adam Ewing (Jim Sturgess) is about to get into slave trade when he is poisoned by the ship doctor (Tom Hanks). In 1936, a young gay composer Robert Frobisher (Ben Whishaw) becomes the protege of a famed composer, and it's at the older composer's house that Robert comes across the journals of Ewing.
In 1973, a young reporter (Halle Berry) gets a tip from a nuclear scientist Rufus Sixsmith (James D'Arcy) that something is wrong with the nuclear power plant owned by oilman Lloyd Hooks (Hugh Grant). When Sixsmith was murdered, the reporter finds letters to Sixsmith left by Frobisher as well as a classical piece called Cloud Atlas composed by Frobisher. in 2012, publisher Timothy Cavendish (Jim Broadbent) is forced into a nursing home where he plans an elaborate escape. Before then, he was about to publish a novel that details the nuclear plant incident.
In early 22nd century, a fabricant named Sonmi-451 (Doona Bae) is rescued from her imminent fate by Agent Hae-Joo Chang (Jim Sturgess). In hiding, Sonmi-451 watches an old movie about Cavendish's adventures. In late 24th century and after "The Fall," Zachry (Tom Hanks) and his family are living in tribes when a visitor Meronym (Halle Berry) arrives. Zachry is inflicted with an inner demon that wants him to harm Meronym. When he takes Maronym to the abandoned city, they discover a message left by Sonmi-451…
The main ensemble cast portray many different characters in these six connected stories. Tom Hanks (Larry Crowne) gets to play Zachry, a scientist named Isaac Sachs, a hotel manager, among other characters. While Hanks is a good actor, the fact that his highly recognizable face is portraying these different characters -- some understated and some over the top -- is very distracting. The same is true with Halle Berry (New Year's Eve) whose two main roles are the reporter Louisa Rey and Meronym. As other characters, she too is very distracting.
Jim Broadbent (The Iron Lady) has a better job juggling between his different roles as he somehow manages to disappear in the characters. The same can be said for Hugh Grant (Music and Lyrics) who, with the help of make-up, does a good job portraying the many different characters. Jim Sturgess (One Day) should also be commended especially for playing Adam Ewing and -- with a race change -- Hae-Joo Chang. Doona Bae, in her English-speaking debut, is fantastic as Sonmi-451. She also gets to play some minor characters -- a Mexican woman comes to mind. Hugo Weaving (Happy Feet Two) is awesome as the devil, and a great comic relief as Nurse Noakes. However, he sticks out like a sore thumb with other minor characters, especially when he's playing Asians (the makeup simply doesn't work).
Tykwer and the Wachowskis have done a tremendous job deconstructing the novel and piecing everything together and give us an epic spanning over 400 years. At times, the intercutting stories seem disjointed and disorienting, and some of them seem irrelevant or too humorous to fit with the rest. Over all, however, they have done a good job maintaining a consistent tone, weaving the stories together with visual cues and thematic links. Through the use of a birthmark, the audience comes to realize that the characters that bear the same birthmark is the same soul that comes back again and again, to learn and to grow. Sometimes it fails (as in the case of Robert Frobisher), but sometimes it triumphs (such is the case with Adam Ewing or Sonmi-451).
They abandon the novel's challenging storytelling structure. Instead, they rely on a linear storytelling technique that weaves the six different stories together through artifacts from the previous story: Ewing's journal, Frobisher's Cloud Atlas and letters to Sixsmith, Cavendish's novel, a movie about Cavendish, and Sonmi's message to the world. Through these links, the filmmakers are able to help the audience understand the themes and the relations between these characters and stories.
I also understand their decision to use the same actors to make the various different roles. It is a challenge that doesn't always pay off. The fact is that these actors are not playing the same "soul" and that can be very disorienting. While it must have been fun for the actors to play, for the audience, it becomes very distracting. We start to wonder, for example, whether Tom Hanks is playing the same soul throughout the film, and then we find out that he's not. So we now question, why the heck is he playing these characters then, other than "it's fun for Tom Hanks"?
That said, Cloud Atlas is a cinematic achievement and I must give kudos for the filmmakers to at least attempt to adapt this impossible book into an epic movie that is wonderful to look at. The editing is fantastic, especially when we consider how challenging it must have been to piece all six stories and multiple characters together. That alone is a tremendous achievement, and technically Cloud Atlas is a marvel in many ways.
Stars: Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Hugh Grant, Jim Sturgess, Doona Bae, Ben Whishaw, James D'Arcy, Susan Sarandon
Directors: Tom Tykwer, Andy Wachowski, Lana Wachowski
Writers: Lana Wachowski, Tom Tykwer, Andy Wachowski (based on novel by David Mitchell)
Distributor: Warner Bros.
MPAA Rating: R for violence, language, sexuality, nudity, and drug use
Running Time: 172 minutes
Ratings:
Script - 7
Performance - 7
Direction - 8
Cinematography - 9
Music/Sound - 7
Editing - 9
Production - 9
Total - 7.9 out of 10.0
© 2012 Ray Wong
The Sessions is a small, independent comedy about a seemingly insignificant character named Mark. While the movie is marketed as a comedy centering on sex, the result is something totally unexpected.
Mark O'Brian (John Hawkes) was struck with Polio when he was six. Since then, he has survived the disease and lived to 38, but he is mostly confined in his bed, a gurney or inside an iron lung that helps him breathe. Mark is a writer, too, and he does it mostly by typing with his mouth (using the eraser tip of a long pencil). While doing an writing assignment on sex and the disables, Mark decides that it's time for him to experience one thing that he's resigned to never experience: losing his virginity to a woman.
With the blessing of his understanding priest Fr. Brendan (William H. Macy), soon Mark is connected to a sex surrogate named Cheryl (Helen Hunt). The rules are clear: there will only be six sessions, and Cheryl is not a prostitute. Mark's condition proves to be more severe than Cheryl has anticipated -- even the less intimate acts such as fondling or touching can be painful and, worse, frightening to Mark. So Cheryl has to exert a lot of patience and tender, loving care while coaching Mark on one of life's most basic needs.
The plot doesn't stop there, but I will leave it to you to discover. The premise, however, is hilarious and the actors deliver with gusto. John Hawkes (Winter's Bones) transfers himself physically and mentally to portray a severely handicapped man who has been bed-ridden most of his life. And yet Mark is far from being self-loathing. Instead, Mark is witty, gentle, loving, and full of grand ideas and curiosity. Hawkes does a terrific job bring this character to life, even though he hardly moves a muscle except his face.
Helen Hunt (Then She Found Me) also turns in a fantastic performance as the sex surrogate. It is not an easy role to play, which calls for confidence and strong sense of self and care for other people. Hunt successfully plays a woman who starts to blur the line between her professional (and hidden) life and her private family life. Hawkes and Hunt have great chemistry together and that makes their interactions and relationship more hilarious and heart-felt.
The small supporting cast is remarkable as well. William H. Macy (The Lincoln Lawyer) helps inject a healthy dose of humor as Father Brendan, who has to listen to Mark's sexual encounters and condone, basically, prostitute for the good of his fellow man. Moon Bloodgood (Conception) sheds her gorgeous appearance to play Mark's humble assistant, and her subtle performance is wonderful. Adam Arkin (Summer Eleven) plays Cheryl's supportive but jealous husband with great humility. In fact, the whole cast displays such great humility and wit that we can't help but fall in love with these characters -- all of them. They are all so human, and yet so special.
Written and directed by Ben Lewin (Touch by an Angel) who is a Polio survivor himself, the screenplay is based on real-life hero Mark O'Brian's experience, which he described in one of his writings. After almost 10 years out of the public life, Lewin has reemerged with this greatly personal, intimate story. The subject matter is sensitive, and in the wrong hands, it could have turned out to be a farce. But Lewin has put a lot of care into developing the characters and plot that what appears to be an easy laugh or two turns out to be amazingly sensitive and poignant. I was blown away by how touching the story and relationships between these character became.
Of course, there are still laughs. It is an interesting, embarrassing and funny matter, and Lewin doesn't shy away from the awkward details, down to the clinical descriptions and physical acts of sex. It makes me uncomfortable watching Hunt and Hawkes getting it on, and I can only imagine how difficult it is for the actors. Remarkably what comes across on the screen is something genuine, affecting, and beautifully acted and rendered.
Like I said, I didn't expect to go into a comedy and find myself sobbing by the third act. But that's what I did. In a matter of 90 minutes, I have fallen in love with these characters and grown a tremendous respect for Mark O'Brian (even though all he wanted to do was have sex -- well, was that all?) and the actors who play Mark, Cheryl, Vera and Josh… (and it was great listening to Hawkes, Hunt and Macy talk about their experiences with the film after the screening). Did the movie change my life? Hardly. But it has affected me deeply nonetheless, and I think come this Award season, it and everyone involved will be rewarded.
Stars: John Hawkes, Helen Hunt, William H. Macy, Moon Bloodgood, Annika Marks, Adam Arkin
Director: Ben Lewin
Writer: Ben Lewin (based on article by Mark O'Brian)
Distributor: Fox Searchlight
MPAA Rating: R for strong sexuality, nudity and frank language
Running Time: 95 minutes
Ratings:
Script - 8
Performance - 10
Direction - 8
Cinematography - 7
Music/Sound - 8
Editing - 7
Production - 8
Total - 8.3 out of 10.0
© 2012 Ray Wong
As a member of the SAG Award Nomination Committee, I was fortunate to attend a special screening of Argo with a follow-up Q&A session with director-star Ben Affleck and the rest of the cast.
Set at the end of 1979 over a period of over 144 days, Argo chronicles the secret rescue of six American diplomats during the Iran hostage crisis. During the uprising, the diplomats including Bob Anders (Tate Donovan) and Cora Lijek (Clea DuVall) escape. Canadian Ambassador Ken Taylor (Victor Garber) and his wife take a great risk by harboring them. But their time is running out -- the hostage situation has not been resolved, and the Iranians have realized the missing Americans and are in search for them.
CIA Agent Tony Mendez (Ben Affleck) comes up with a plan to get the Americans out of Iran. The plan, by it self, is ludicrous, but it's the best possible plan the CIA has come up with. Mendez will pose as an Canadian filmmaker trying to make a movie and scouting locations in Iran, and he will attempt to leave the country with the Americans as his crew.
The plan calls for Mendez to personally risk his own life. Succeed or fail, nobody will ever know about this, so Mendez only does it for the love of his country and countrymen, and not for glory or fame or anything else. And he has to do it alone. Well, not completely. In order to pull it off, he will need to make the operation as realistic as possible, and he enlists the help from his friend, famed makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin).
Ben Affleck (The Town) has definitely matured as an actor (more on his ability as a director later). As is, he does a good job portraying the stoic and contemplative CIA agent. Still, I find him somewhat miscast -- he is too good-looking a movie star to pull off playing a covert operative (let alone the real guy isn't a white guy). It's okay for the director to star in his own movie, but the role must fit. In this case, I am not too convinced.
That said, the cast in general is superb. Bryan Cranston (Rock of Ages) is fantastic as Mendez's boss. He just comes across as someone you can trust, who, despite his ruthlessness and harsh opinions, would have your back no matter what. Alan Arkin (The Muppets) is hilariously brutish (and refreshingly honest) as the producer. John Goodman (Trouble with the Curve) is spectacular as Chambers -- playing a real, famous person like John Chambers is a challenge in itself, and Goodman does a great job with it. He and Arkin make a great comedic team, and help add dashes of humor to an otherwise tense thriller. The superb cast also include the always-solid Victor Garber (Take Me Home) as the good-hearted Canadian Ambassador, Tate Donovan (Below the Beltway) and Clea DuVall (Conviction) as two of the Americans.
Written by Chris Terrio (Heights), and based on an article by Joshuah Bearman, the screenplay is taut and fast-paced. It starts with a prologue that sounds somewhat heavy-handed but does give a solid historical background of the crisis. Terrio also succeeds in injecting humor, mostly through the characters of Chambers and Siegel and by poking fun at Hollywood. The rest follows a taut thriller arc. The character are generally larger than life, and even the smaller characters seem three-dimensional. The dialogue is terse and to the point. The plot clips along at a brisk pace. I can't remember any major plot holes, even though some of the situations seem rather outlandish. The risks these people take are nerve-racking, and that's why the thrills work.
Director Affleck has blossomed as a filmmaker. He has made a few fascinating films such as Gone Baby Gone and The Town. He continues his streak with Argo which may very well give him his first Oscar nomination as a director. The pacing is superb. The suspense is amazing -- I was at the edge of my seat throughout the entire movie, even during the witty moments. The tension near the end was palpable, even though we know they have all gotten out (we know our history). The production is handsome and true to the era and material.
Despite my trepidation of Affleck being in the lead role, I am truly impressed with the production, the writing, and the acting. Argo is a fantastic political thriller. And smart, too. The facts and historical details (albeit the requisite creative licenses, of course -- this is, after all, a drama/thriller, not a documentary) add tremendously to the authenticity and gravity of the story. So, yeah, Argo see it!
Stars: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea DuVall, Scoot McNairy, Rory Cochrane
Director: Ben Affleck
Writers: Chris Terrio (based on article by Joshuah Bearman)
Distributor: Warner Bros
MPAA Rating: R for language and some violent images
Running Time: 120 minutes
Ratings:
Script - 8
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 8
Total - 7.9 out of 10.0
