No Strings Attached or No, Just No.

    How does one pontificate on a piece of poop?  I mean scientists can do it, learning about evolution and adaptation all from studying scat.  New mommies do, smelling their babies bottoms, discussing poop patterns at new mommies clubs and calling the Doctor if poop is a different color.  Other than that there isn't much more to say or do save for the occasional potty joke.  Oh except for whoever wrote No Strings Attached.  They had a grand ol time pontificating on poop.  I'm not going to lie and say I didn't laugh, I did.  There's humor here, if period jokes and sad old man on drugs is your kinda giggle.  I cant even make up the fact I smiled at the ease of Portman and Kutcher then automatically frowned at the thought that my five dollars were helping to fill the pockets of two smug actors with enough work and enough money but they just really needed to do a film to show everyone what good friends they are and hey!  acting isn't all about plucking feathers from your skin and stabbing people!  Acting isn't just about gaining fans on twitter and marrying your moms fave actor from the 80s.  Acting is showing people you can feel real emotions like disappointment and betrayal, all in the form of a saturated, one note, predictable from the preview, waste of my time called No Strings Attached.  At the risk of seeming harsh I don't wanna say I didn't enjoy certain moments like oh my god Natalie Portman is gorgeous and Ashton is so dreamy.  To credit the writer there are some clever one liners, I also had a giant laugh over the fact the Cary Elwes was given a part with no lines and a beard.  I asked my friend later if perhaps Portman (executive producer) and Elwes are buddies and when he got wind of her E.P credit he begged for a paycheck.  Unless there's some sort of genius lost scene where Elwes spews a poetic confession of love to Portman in their mentor/student relationship.  Or perhaps another and more interesting film ending where Portman realizes she desires a quiet studious life with the silent doctor who fulfills her request with the one liner "as you wish."  Needless to say none of this occurred.  Cary Elwes had no lines.  Why couldn't they cast a struggling actor with a blond beard and save 10,000 on costs?  Back to the main point, don't pay to see this movie unless you're not on a budget or you can swing over to what we like to call The Ghetts on Victory and Coldwater where a ticket before 6 is $5.50.  Even $5.50 is a bit much to pay for a flinch of charm from some celebrities pretending to fall in love and indulging in almost way too personal sex scenes that seemed written simply for the sole purpose that Kutcher and Portman would get a chance to make out and get paid, in a mostly boring film that at the end of the day was just a big budget piece of crap.  Oh and while we're on the topic of potty humor, I will say this.  I had to pee the entire film.  Why you ask?  I didn't want to go to the bathroom and miss anything.  Take that as you wish.

Blue Valentine or Just Leave me. Alone.

    How do we accept the misery of the mundane with the knowledge that everyday we grow more and more attached to it?  Blue Valentine had me asking myself this question the entire film.  As I watched I sat waiting for the tragedy.  Oh!  He's about to get hit by a car or No!  She's going to die!  Then I realized I was waiting for nothing.  It was there all along.  The tragedy is life.  Painful and filled with moments you find yourself forcing your mind into automatic denial, "I have and will never be there in my relationship" yet at some point and with some one we all have.  Unwillingly.   The tragedy is the everyday existence where each time we breathe we get closer to death (shown beautifully by Jenn Jones as Gramma and Melvin Jurdem as Walter.)  Each day is filled with the repetitive problems our past hands to us.  The film seeks the sadness out of every crevice and lays it on the dinner table or in this movie's case, the bedroom.  You might find yourself not crying out of misery but perhaps at the vulnerability shown in just the everyday actions of brushing one's teeth.

    Although as we all know, every once in a while tragedy is blessed by creation.  Michelle Williams evokes a glowing beauty and is far more than impressive in Blue Valentine just playing the harshness of reality.  It seems almost easier to portray a character of the demented nature (Portman in Black Swan) where you know you have to reach a certain level of darkness or "crazy" but when given the task to act the authenticity of life and relationships, it seems the most difficult an actor can take on (especially after the real life loss of her child's father).  William’s performance reminded me of a beautiful line from Woody Allen’s, Hannah and her Sisters,  "how can you act when there's nothing inside to come out?” clearly Michelle had a lot to get out and its both divine and devastating to watch.  Gosling is his usual charming self, although the later years of his performance portray an annoying man-child who drinks too much and makes messes of the unnecessary.  Blue Valentine is not necessarily enjoyable, but unavoidably effective.   It’s a passion piece with some serious intention that doles out a dismal ending although not without hope perhaps presenting the darkest idea of the film.  What are you hoping for really?  A rekindling of a relationship deeply troubled by its roots and withered from the routine of falling out of a passionate love.  Blue Valentine is back of the hand brutal, a powerful smack that shocks and yet you know it well...like the back of your hand.  

The King's Speech or Rush and Shine

    Since when has Helena Bonham Carter taken a back seat to anything or anyone?  Usually every movie she's in becomes a testament to the multi faceted talents of a one woman show.   The only objects standing in her way would be the pawns called supporting actors.  No no that's mean but c'mon now, Helena letting someone else take the reigns?  Almost as good as watching Colin Firth beautifully stammering around a role enhanced by the genius of his fellow pawns, thank you Helena and most important Geoffrey Rush.  Oh Geoffrey shall I compare thee to a summers day?  With your odd looks and jaunty stride, one might think you to be the awkward uncle or strange 5th grade teacher.  But you're not.  You're a lovely actor blessed with the fluidity of players who seem to breathe the trade through their skin like say Cate Blanchett  (fellow Aussie, what is it about you guys?)  or Michael Caine.   Along with the greats so keen on their craft lies the irrepressible Geoffry Rush who carries the film.  This movie was to me like a little holiday.  Gift wrapped with a pleasant bow.  This is truly an ensemble fit for a marathon, each actor bringing out the best in their fellow cast mates, including Helena who's subtlety allowed for the films all around robustness.  The story was neat and without fancy trim, written by David Seidler with no need for an emotionally manipulative plot or unnecessary violence but who seemed simply interested in the great happenings when two friends come together with a mutual necessity and innate love.  In all honesty, I have seen better this year, and this is only said in reaction to the huge effect this movie seems to be having.   Colin Firth is of course a beautifully manicured actor able to bottle his vulnerability and sell it on screen and who certainly deserves the buzz but if they were my Oscar's, I'd let the speech go to Rush.

Winter's Bone or I wanna go home.

    Well if you thought your life was tough: no money, boss is mean, family drives you crazy, can't stop drinking beer, hey! try moving to the Ozarks where searching for your dad's bones or pushing meth is the locals' solution to a hard days work.  Crashing down on the bleak terrain with such powerful force it may just win her an Oscar, Jennifer Lawrence owns her role like a lioness with her teeth in the deer (or in this case, squirrel).   Somewhat of a lost daddy's girl, Ree Dolly (Lawrence) is sadly slated to take over her mother's role as caretaker and suddenly has a new responsibility; find her dad or lose her home.  Standing in her way is the fearless, the great, the unstoppable (my hero) John Hawkes as Teardrop Dolly.  What can I say about John Hawkes?  He owns it.  Ferociously, but at the same time underneath the exterior of a meth head killer, he remains vulnerable and loving somehow all the while terrifying and cruel.  John Hawkes steps up to fill the place of the greatest character actors of all time (including Pete Postlethwaite, post posthumous shout out to this unearthly talented man) and its only soon before he will be stepping up to the podium to collect his well deserved statue.  For me though, the standout of this movie was Dale Dickey as Merab, a hard ass meth man's wifey.  Oh Dale Dickey, with a face like (gosh please excuse me when I say) a crackhead and the chops of a Python.  Sadly I believe she will go unnoticed at all the over hyped award ceremonies but I wouldn't just yet start to feeling bad for her. Dickey is another character actress who's got her foot in the door of all the great casting agents in town.  You may have seen her in My Name is Earl or Breaking Bad but you have never seen anything like her performance in Winters Bone.  Cold-hearted killer, she ain't nothing like the sisters I grew up with.  Terrifying is her turn in this movie, perhaps the biggest obstacle and ironically the stepping stone to solving Ree's Problem and who in her own way lends a helping hand (get it?).  Of course it's the beautifully intricate writing that is the road for this brilliant vehicle (Dickey) driving the plot and drama.  You sorta love her from the minute you meet her, claws and coffee out (see the film, you'll understand.)    
    Winter's Bone was directed by Debra Granik, who's feminine touch is needed with the vulnerability and fragility of each character including the men but who also has the hard ass masculine tone of cowboy Clint Eastwood. If you like movies with great stories and great actors and well who doesn't, see this indie gem.  I'd watch Winters Bone if you need a better outlook on your life.  Be happy it's the valley and not the damn Ozarks.

Black Swan or Showgirls for smart people

  Wow, Black Swan sure got hyped last year, didn't it?  Well, that happened and I must say it happened with grace, it happened with beauty, it happened with dignity and style and it happened with girl on girl action.  This thriller is much like Aronofsky's other films in the sense that although beautiful they come at you with a paranoid hard driven anxiety and don't exactly leave you wanting more.  That's not to say you won't be thinking about Black Swan when you leave the theatre.  You will.  You wont be able to get Natalie Portman's red eyes out of your mind or the pounding of Tchaikovsky's mood music mixed with the brilliant composition of Clint Mansell's madness, out of your ears as your perform everyday tasks like cooking and cleaning, the music stabbing at your psyche causing you to drop the fork you are drying and scream in anguish or dart your eyes back and forth madly muttering everything must be PERFECT.  You wont forget the frantic flocks of beautiful jumping swans or the nail severing drama of bonky ballerinas...you just wont ever want to see it again. 

    The film stereotypically starts with a dream and ends with a nightmare.  In the beginning when I first heard Portman's whining voice I thought to myself is this going to be the same old Natalie Portman who waltzes around the screen and somehow convinces us she is good simply just by looking so?  I was proved wrong.  This performance was different; towards the end of the film her commitment to the role was obvious and impressive.  Ugly and powerful and worth the possible noms (although I can think of five other films more well suited for Best Picture).  Other standouts were Mila Kunis who was nothing but refreshing and sexy in what seems to be a dramatic twist for this comedienne, Barbara Hershey as the stage mom who cant control her spawn, and Winona Ryder as well, Winona Ryder, beautiful has-been in a world where youth works and old is thrown to the history books.  Her role in the movie is much like her role in the media; you're never sure what's going on, never sure what really happened actually happened (ahem pill induced theft frenzy) and you're never sure when you will see her again.  The blunt delivery of her laughable lines added dimension to what could have been an otherwise one note film.  The film wraps with a horribly tense experience causing you to leave the theatre unsettled and nervous.  All in all I get the hype, I just don't think I'll get the DVD.

TRON: LEGACY or DAFT PUNK makes a better movie.

TRON was boring.  Go see it if you like lasers.

The Social Network or Aaron Sorkin as Truman Capote

    Ever read In Cold Blood?  Then you might understand my comparison.  I remember when I finished In Cold Blood I thought to myself how on earth did Capote know all that?  The conversations, the dialogue, the happenstance, down to every last detail accurately portrayed.  Then I realized oh wait this is fiction.  That is the same effect The Social Network had on me.  When the film ended I was beyond convinced that was the truth.  That was the story.  While it might be dangerous to rewrite history and convince people its true, hot dang it makes for a great movie.  I was now discussing the history of facebook as written by Sorkin and directed by Fincher, and what a thrilling history it was.  I love films that encourage you to research when you get home from the theatre.  There I was that night googling Zuckerberg and Saverin.
    This film is excellent.  Truly my pick for the Oscars coveted Best Picture award.  Eisenberg carries the movie with an unbiased portrayal of "under dog" Mark Zuckerburg.  It was obvious to me that Eisenberg had no preceding judgment of the role or the man for that matter.  He created a performance that was spot on and tender, encased in the body of a hard ass man/boy who some think is heartless.  Armie Hammer had a star turn and what's sure to be career booster playing both Winklewoss twins (pity for the actor Josh Pence credited as Tyler but who's head was removed for Hammers, hey at least he's working, I'd be first in line to play Chloe Sevigny's toe in any role she was given just to have the chance to get around a fecking camera and a script and let's not forget a paycheck).  Andrew Garfield as Severin was smooth and convincing, playing the sometimes and in his case unfortunately idle businessman betrayed by his best friend.  Garfield's performance showed the chops of a real star who's calm demeanor left me completely in understanding of why he would be chosen to take over the role of Peter Parker.
    The one dull spot in the film for me was Justin Timberlake as Sean Parker.  His portrayal was cartoonish and perhaps the directors fault.  This "singer turned actor" seemed out of place, his chops were simply not as tarnished for work alongside the experts he co-starred with.  Roughing up the currents of the zen like flow of Garfield and Eisenberg's performance with his frenetic "I'm so lucky to be here " vibe.  He seemed cast simply for the connection we might make between charismatic Parker and talented and popular Timberlake.  I also thought the lack of female characters was disappointing but hey you can't rewrite history (ha ha get it?).
    All in all the film was everything a movie should be from cover to cover.  Well written, shot, directed, acted and most important, excellently hyped and promoted by a social network we all love to hate.  And hate to love. ★★★★

The Fighter or Christian Bale blows my mind.

    Finally a feel good movie with drama.  In this day and age of emotionally manipulative story lines, it feels good to see a film that well...actually feels good.  This Boston drama had me cringing at the fashion and vocabulary choices of the infamous sisters who after Bale stole this movie.  These sisters though, were so convincing and scary at certain points in the film I thought we may actually see a casualty.  It had me crying at the clearly unchinkable armor of family ties.  It got me thinking.  What is acting?  Is it actually a higher calling?  Bale's performance certainly was.  Wahlberg's usual high pitched whining seemed fitting as younger brother Mickey where his higher pitched tone took on a supportive vulnerability that often happens in a marky mark role (The Departed).  Veteran actress Melissa Leo (Frozen River) served a superb performance of frustrating mother (Alice Walker) who in the end may be just like the one you or I have, fiercely defensive of her babies and at the same time egocentrically concerned about her own well being.  Mickey O'Keefe is a true find, playing himself.  The whole time I sat thinking who is this warm actor with a family sensibility that is clearly evident and the simple acting style of a child who hasn't fallen into habits yet.  Bravo to O'Russell who cast this gem in the film.  Both Jack McGee and Amy Adams give honest and impressive performances but of course for me the real draw was Christian Bale.  I've heard some say Bale's performance was over acted but in my mind there is no way that Christian Bale could be anything but exactly like Dicky in real life. I was drawn in and convinced, reminded me of Daniel Day Lewis, one of the other great remaining "method men." Its nice to see actors fully immersed in roles. To compare, while James Franco did an amazing job as Ralston in 127 hours, as a performance it seemed like there wasn't any acting which in turn has its own marvelous wonder for me, although Bale left me breathless. As far as "acting" goes though, nothing could ever be as bad as sean penn screaming, "is that my oscar in there?! IS THAT MY OSCAR IN THERE?" (mystic river)  
    All in all it's good to have O' Russell back, proving with The Fighter he can put together a bad ass cast and a feel good film.  ★★★ 1/2