THE VIOLENT BEAR IT AWAY or THE QUIET MAN and THE WILD ONE: Movie reviews of The Drop and Starred Up by Howard CasnerPosted: September 23, 2014 | Author: Donald | Filed under: Uncategorized | Tags: Ben Mendolsohn, David Mackenzie, Dennis Lehane, Jack O’Connell, James Gandolfini, Jonathan Asser, Matthias Schoenaerts, Michaȅl R. Roskam, Noomi Rapace, Starred Up, The Drop, Tom Hardy | 98 Comments »
First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
The film noir genre is a particularly American institution, one that took hold of the local populace during World War II and stayed strong until the 1960’s.
It had a great influence on movie making all over the world. Perhaps there was just something so satisfying to other countries about the U.S.’s finally washing its dirty laundry in public and exploring the amoral, immoral and sociopathic underpinnings of its society, bringing itself down off the pedestal it had so self-righteously put itself up on.
(An interesting irony here is that the movie world of the 1930’s, during the height of the depression, was one of optimism and a focus on people having frothy fun, while after taking down Hitler, and America entering one of its most prosperous periods in history, the movies are far more cynical and willing to explore the more unsavory underbelly of our world.)
There is a sculpture in Chicago in front of City Hall. It’s by Picasso. It’s okay. I thought it was rather derivative and that there wasn’t anything that special about it. To be honest, what I thought when I first saw it was that Chicago paid a fortune to get the great artist to create a sculpture just for the city and all we got was…a Picasso. And I thought we deserved more.
I have now seen every one of writer/director Nicole Holocener’s movies, and I’ll definitely keep on seeking future ones out. I’ve enjoyed them well enough, and her dialog and characterizations are strong, insightful and full of empathy, something most movies seem to lack these days (though I do wish she would do something about her flat and routine visual style).
At the same time, though, I am finding myself, well, wanting more than enjoying them well enough. I find myself so wanting her to take a leap forward, so wanting her to make her Annie Hall, her Dogma, her Raising Arizona or Fargo, her Pulp Fiction, her Lost in Translation. Instead, what we’re getting here, in her new film, Enough Said, is…a Picasso. And it’s a good film, but it’s also just…a Picasso.
The basic story revolves around Eva (a perky Julia Louis-Dreyfuss), a divorced mother who makes a living as a masseuse, who meets two people at a party: the refined, somewhat snobby poet Marianne (Catherine Keener, and what movie by Holocener would be complete without Keener in it) and the less refined, teddy bear Albert (James Gandolfini in his next to last film performance, which gives the whole thing an unintended, but somewhat, whimsical sadness to it). Marianne hires Eva to massage her and the two become good friends. Albert asks Eva out and they become lovers. What Eva quickly finds out, but the others don’t know, is that Eva and Albert are bitter, bitter, bitter exes who keep telling Eva how awful a mate the other one was.
In other words, the basic set up is a farce and it’s a great idea. Unfortunately, the pacing is anything but. And after while, I found myself antsy because all I was waiting for was the big reveal. And it took what seemed a longer than necessary period of time to get there.
I’m also not sure I fully bought the relationships either. And I don’t mean the present tense ones. The more Marianne and Albert talk about each other behind each others’ backs, Eva never seems to ask the most logical question of the story: why did they ever get married in the first place? They seem to be the last two people who would ever go out on a first date, must less tie the knot.
Eva and Albert’s relationship is a bit more convincing because both Louis-Dreyfuss and Gandolfini work very hard at it and there is a sweet chemistry to the two of them. At the same time, I sometimes got the feeling they started a relationship simply because there wasn’t anyone else around. In the end, the most convincing couple in the room are Sarah and Will (Toni Collette and Ben Falcone), Eva’s best friends and comic relief. They seem so right for each other and Collette and Falcone give razor sharp performances, they’re the kind of couple who get each other even when they get on each other’s nerves.
In the end, maybe Holocener isn’t that interested in making that leap forward. That may not be the direction she wants to go in. And I guess there’s nothing wrong with that. Maybe that’s okay. And maybe it’s just a prejudice of mine that artist’s should take leaps forward. But god, I so wish she would. We have enough Picassos.
The Fifth Estate, written by Josh Singer and directed by Bill Condon, is a hi-tech espionage thriller disguised as a bromance, or a bromance disguised as a hi-tech espionage thriller. I’m not sure which. I’m not sure I want to know.
For those of you just returned from the Antarctic, The Fifth Estate is about the Private Lives relationship (you know what I mean, can’t live with, can’t live without type thing) between Julian Assange and Daniel Berg, the creators of the king of all hacker sites Wikileaks. And what a relationship it is, too. Like any good Fred Astaire/Ginger Rogers movie, they meet cute; flirt; get jealous of each others’ lovers; try to sabotage each others’ relationships; cheat on each other; have make-up sex (in the form of releasing a shocking video of the American military shooting and killing unarmed civilians and journalists—it was good for me, was it good for you, too?). The love affair metaphor here is so heavy handed that it is embarrassing and even cringe worthy at times (you almost want to yell at the screen, “get a room, already, why don’t you”). At one moment I expected Assange to say “You complete me” to Berg and Berg to say to Assange, “I wish I could quit you”. The only place it really deviates from formula is that unlike most rom coms, The Fifth Estate has an unhappy ending as Berg, like any good starter wife, gets traded in for a younger model.
If this movie had been made in the 1950’s, I would have expected it to star Joan Crawford or Barbara Stanwyck and Zachary Scott or Fred MacMurray. Instead we have Benedict Cumberbatch as Assange (with shocking white hair as if he were an elf extra in the Lord of the Rings) and Daniel Bruhl as Berg. There’s absolutely no chemistry between the two and their characters just never come to life (though I have to say in Cumberbatch’s defense, he is stuck with imitating someone with one of the dullest speaking voices in some time).
And poor Berg. After giving some solid and satisfying performances in such films as Good Bye Lenin!, The Edukators and Inglorious Basterds, he just can’t seem to find a role that suits him. And it doesn’t help that here he can’t get any more heat going with his co-star than he could with Chris Hemsworth in Rush, another Beatrice/Benedict relationship that also couldn’t get off the ground (or out of the starting gate).
It’s all so unfortunate. Because when the film focuses on the actual Wikileaks story, it’s rather exciting. Condon’s direction just refuses to let the action lag and the whole thing is filled with a bunch of fun visuals to keep the tension, well…extremely tense. But whenever the thriller returns to the love story, the whole thing sinks like the Titanic, taking its two stars with them.
I must say, though, it does have an interesting supporting cast. Some surprising people keep popping up, like the future Dr. Who, Peter Capaldi; Mike Leigh refugee, David Thewlis; Downton Abby ex, Dan Stevens; and the wonderful Moritz Bleibtrau, one of Germany’s best actors (Run, Lola, Run; Munich; and the Baader Meinhoff Complex).
It also has Laura Linney and Stanley Tucci as U.S. state department officers who, for some reason, always feel a tad out of sync with the rest of the movie. Part of this may be because they are too familiar of actors for their roles. But part of it may be because they give the most vibrant line readings and their platonic romance is infinitely more believable than Cumberbatch’s and Bruhl’s.