Showing posts with label Theatrical Review. Show all posts
Showing posts with label Theatrical Review. Show all posts

Friday, September 21, 2012

It Takes Two: Hope Springs


Last week I saw a profound film with a clearly stated message, a dialogue-driven script and three incredibly natural performances. I'm as surprised as you are that the film was Hope Springs.

The movie is about a couple that has recently celebrated their 31st anniversary but found themselves in an entirely loveless marriage. The wife, Kay (Meryl Streep), signs up her and her husband Arnold (Tommy Lee Jones) for a weeklong therapy session in Maine. As the film unfolds, we see their bumpy road to recovery. But is it too little too late? A palpable suspense resides throughout.

Frankly sexual and even-handed in its gender battles, Hope Springs is one of the bolder studio films released this year. Yes, there are several scenes that are excruciatingly bad (office banter with Lee Jones' co-worker, Elizabeth Shue playing a world-weary bartender) and the name of the town they visit is Hope Springs (ugh!). But these clunkers are contrasted with scenes of such wisdom and patience that they must be by-products of the filmmakers having to keep the studio happy. Such sacrifices were worth it to afford such starkly realistic scenes elsewhere.

The plot plods along at a casual pace and much of the dialogue is didactic, but the film sticks to its guns throughout. This is no smooth, montage-fueled romcom. This is a labored look at what it takes to sustain a marriage. It's clear that there are no shortcuts.

Anchored by three powerfully affecting performances, many scenes play out like direct-to-viewer counseling. I'd be tempted to prescribe this movie as an early step toward marriage counseling. I'm not sure if a licensed therapist would agree with me – surely the film takes a lot of liberties – but Hollywood can be a powerful medium and it's heartening to see a film like this use its platform to inspire.

If any of the three central performances hit a single false note, the film would fall apart. But each one succeeds magnificently. Jones and Streep both create rich, nuanced characters. Steve Carell has a very difficult role to pull off as their therapist. Not only must he combat the audience expectations of his comedic persona, he also has to serve the role of authority and wisdom while sharing the screen with two of the most celebrated authorities on acting. I imagine he must have been scared out of his mind having to go toe to toe with these acting legends. But he does it with unblinking confidence.

Hope Springs may be about 50+ characters but anyone who puts value in a romantic relationship should see this movie. It doesn't matter if you have been married more than 30 years or if you just started dating, the movie presents a core fundamental that is universal: nothing is perfect, there are two sides to every story and the only way to be happy requires both partners to put in an equal amount of work. Hope Springs doesn't have all the answers. But it believes it has some.

Friday, September 25, 2009

Independent Woman Pt. 1: A Review of Coco Before Chanel


"...without a clear plot trajectory, the film struggles to maintain momentum, relying on the tired period-piece mainstays of sweeping landscape shots accompanied by swelling orchestral music before concluding with little impact."

Click here to read my review in VIVmag

Thursday, June 11, 2009

Under the Harvest Moon: A Review of Food, Inc.


"Kenner appeals to enlightenment rather than condemnation, and the text-based conclusion offers specific practices for viewers to consider. Even if they're only micro compared to the policy reform that the film essentially bids for, it at least offers tangible suggestions (scored to Bruce Springsteen no less). Participant Media also published a paperback companion that further explores issues raised in the film, and shipped it to bookstores in advance of the film’s theatrical release. By suggesting alternatives in a controlled, persuasive manner, Food, Inc. distinguishes itself from social awareness ego-trips like Richard Linklater's pedantic adaptation of Fast Food Nation and from the scores of fear-mongering documentaries that criticize without offering solutions: Michael Moore, Charles Ferguson, etc. take note."

Click here to read my review in The L Magazine

Saturday, May 02, 2009

Together They Make Average Music: A Review of The Soloist


As a great fan of Joe Wright’s previous features, the slightly crass but hugely entertaining Pride and Prejudice and Atonement, it’s with a heavy sigh that I report his third film The Soloist to be a middling effort. The weight of the film eventually gets too heavy for itself as it desperately struggles to ensure a happy ending in the last twenty minutes but there is still a good amount of interest here and it confirms my suspicion that Joe Wright is one of the best middlebrow filmmakers working today.


The film marks Joe Wright’s third adaptation, culled from newspaper columns and a memoir by Los Angeles Times columnist Steve Lopez. Robert Downey Jr. plays Lopez in the film (if only all journalists were so lucky) and Jamie Foxx stars as Nathanial Ayers, the subject of Lopez’s book. Ayers is a homeless man living in downtown LA and exhibiting qualities of schizophrenia. But he’s also a remarkable string musician, having studied at The Julliard School during his youth. The film chronicles the friendship that develops between the two men and it’s to the film’s credit that things only become saccharine during the final act.


All too often the topic of disability only appears in film when it is the subject of a ‘quest for a cure’ narrative where easy answers are delivered and miracles materialize just in time for the closing credits. The Soloist deserves recognition for attempting to buck this trend. While Lopez is guilty of pursuing a cure for a large part of the running time (but really, who wouldn’t?), a character finally tells him in regard to Ayers, “You can’t change him, all you can do is be his friend.” It’s an important message but sadly it gets sublimated during the rosy-tinted conclusion. Downey Jr.’s voiceover does mention that Ayers still suffers from dangerous outbreaks but the images in the last scene do nothing to underline that, choosing instead to highlight his charming eccentricities. For 75% of the film, Wright and his actors do a noble job of presenting the story realistically and interestingly but they fumble during the last 25%, losing all momentum and eliminating any real threat from the one scene that absolutely requires it.


The rule of Rain Man would dictate that Foxx as the mentally imbalanced character would be the flashy role while Downey Jr. as the straight-laced cynic would be the thankless supporting role. Curiously, the inverse is true in the case of The Soloist with Downey Jr. inhabiting the peach of a role while Foxx just barely manages not to be overshadowed. This seems to be a product of both the filmmakers’ intent and the performances. Of course, a quick survey of Downey Jr.’s career reminds that he never plays “the background” anyway (except maybe in U.S. Marshalls). But can it be considered showboating when it’s done by someone this talented? Downey Jr. is a joy to watch at every moment, completely engrossing from start to finish with nary a false note. The only flaw in his performance is beyond his control: the inconsistency of the amount of gray in his hair. To Foxx’s credit, he does a good job appearing and acting like someone without a home. The film has a keen awareness of homelessness and reportedly cast real homeless citizens of LA as extras (I don’t doubt it).


Even though it’s only his third film, I’ll eagerly anticipate every film Joe Wright ever makes. His films aren’t entirely successful (those who criticize The Soloist for being uneven are partly correct) but at least the man isn’t afraid to take chances. After all, he did insert Scorsese-esque steadycam shots into Pride and Prejudice and even dared to change Jane Austen’s understated ending. With his penchant for non-linear storytelling, his showy use of sound effects and music, and his fusion of highbrow and lowbrow material, I’m tempted to call him the Quentin Tarantino of literary adaptations. I’m hard pressed to think of another filmmaker who would have taken a film with this much assumed prestige and chosen to offset lengthy classical music interludes with not one, but two gags involving Downey Jr. getting doused by urine. Also of note is the bold sequence half way through the film in which the image fades away and an array of bright colors appear in synch with the classical music on the soundtrack. It’s the kind of daring synesthetic sequence one rarely sees in major studio films, the only other examples that readily spring to mind are 2001 and Ratatouille.


Wednesday, December 10, 2008

Chump Charity: A Review of Where God Left His Shoes


"Unless you stay to the very end of the credits — in which it states that a portion of the film’s proceeds are being donated to homeless shelters and urges viewers to contribute further — the film feels like a message movie without the message."


Click here to read my review in The L Magazine

Tuesday, November 11, 2008

The Class: Teach Like Your Hair is on Fire


"Those expecting the Palme d’Or to signify something visually or narratively revolutionary will be underwhelmed by The Class. Instead what the film does offer – and I think this is a remarkable achievement indeed – is the power to compel inward reflection and insight into the nature of being both a teacher and a student in the equivalent of a US middle school context; the most painful and least productive years of secondary education, if you ask me."

Click here to read my review at Not Coming to a Theater Near You

Wednesday, October 29, 2008

The Boy in the Striped Pajamas: Moving Pains

"...there is the potential for The Boy in the Striped Pajamas to double as both a well-made film and an educational implement for young viewers: the film develops in a delicate manner that is optimal for introducing the atrocities of the Holocaust in an uncompromising but measured mode. However, the film’s shocking and crushing conclusion strikes me as unnecessarily cruel toward the viewer in a Lars Von Trier sort of way."

Click here to read my entire review in The L Magazine

Monday, July 07, 2008

Gonzo: Hunter 4 Prez

"While the figure of Hunter S. Thompson may already be an overly familiar cinematic subject, what is remarkable about Gonzo is the amount of archival footage that has been included from all stages of his life."

Click here to read my review of Gonzo: The Life and Work of Dr. Hunter S. Thompson at Not Coming to a Theater Near You

Tuesday, June 17, 2008

The Blue-veiled: Melodramatic Subtlety

"Bani-Etemad is far too much of a visual realist to engage in the mise-en-scéne flourishes of Hollywood melodrama, opting for more subtle but just as symbolic production design."


Click here to read my review at Not Coming to a Theater Near You

Wednesday, January 16, 2008

Teeth: She Can Cut You Like a Knife


"Yes, the film is essentially a one-trick vagina, but it’s an unforgettable one — even if it requires virtually every male character to be an amoral horndog."


Click here to read my review in The L Magazine

Wednesday, September 19, 2007

Helvetica: The Font is Mightier


"Ultimately little more than a curiosity piece, there is a certain fascination present in seeing some of the faces behind the Microsoft Office fonts we all know and love."

Wednesday, September 12, 2007

In the Valley of Elah: The Patriot


"At its best, the film coolly mixes incisive political commentary with a case so engrossing it’s tempting to whip out a notepad and jot down clues..."

Tuesday, September 11, 2007

Resurrecting the Champ: Down and Half-Way Out


"The screenwriters, Michael Bortman and Allison Burnett, demonstrate a keen ability to write complex lead characters but also a need for them to pay more attention to plotting."

Wednesday, September 05, 2007

Fierce People: On Deadly Ground

"Fierce People is nasty, unfunny and wildly incongruous."


Click here to read my entire review in The L Magazine

Friday, August 31, 2007

The Monastery: Mr. Vig & The Nun: Something's Afoot in Denmark


"...the buoyant musical score and the numerous close-up shots of dust particles dancing in the sunlight complement the vitality of the film’s creaky and wheezy but nonetheless determined protagonist."

Friday, August 17, 2007

The Invasion: Insomniacs Wanted


"There may be enough unexpected startles to appease a Friday night crowd in this final, fragmented version but the unfulfilled mixture of camp and terror constantly reminds the audience of just how much the film is a shamble."

Thursday, August 16, 2007

Delirious: Bohemian Like You


"Delirious’s formalist schizophrenia leaves one uncertain if the film is intended to be farce or fairy tale, but Buscemi’s dynamite performance makes it worth seeing anyway."

Monday, August 13, 2007

Death at a Funeral: Puts the Fun Back in Funeral


"...a biting comedy that thrashes all around the world of morbidity while staying just fanciful enough not to become moribund."

Saturday, August 11, 2007

Rocket Science: A for Effort


"Quirky coming of age tales are a dime a dozen in the world of American independent cinema, but Rocket Science – the story of a stuttering high school student who decides to join the debate team – is worthy of singling out from the rest of the crowd."

Monday, August 06, 2007

You Kill Me: Drinker's Remorse



"...the undeniable fact of the matter is that the film is ultimately a strong look at the effects of alcohol. It has the power to be both a harbinger for those just embarking down that road and also a motivational tool for those seeking help."

Click here to read my entire article on the [with]tv Blog