W.E

new review up over at artsbeat.com,  same getacluesy

visit the link below for my W.E review

http://www.artsbeatla.com/2011/12/madonna%E2%80%99s-w-e/

30 Minutes or Less

30 Minutes or Less 

    When best friends Nick (Jesse Eisenberg) and Chet (Aziz Ansari) hit a rough patch in their long-term friendship one doubts they may ever have the desire to patch things up.  That is until con men strap a bomb to Nick’s chest and force him not only to rob a bank but also to ask for help from the one person he swore never to speak to again.  His ol pal Chet.  Meanwhile bomb men townie losers Dwayne and Travis (Danny McBride and Nick Swardson) plot a dismal yet droll plan to hire an assassin and off Dwayne’s dad affectionately called The Major and awesomely played by Fred Ward.  Seems The Major has been cramping Dwayne’s style by asking him to get off his ass and get a job.   Thus a hit man idea forms at the local strip club.  Two seemingly harmless losers are all of a sudden messing with life and death. 

    The plot ensues and without telling the entire story in my review let me just make it simple.  The movie is great.  Heartfelt and fanciful yet deepened by the strong relationships portrayed on screen by actors smart and talented enough to bring depth to a screwball comedy with a seriously great script.  The screenplay written by Michael Diliberti is his first and actually portrays a sort of untainted Hollywood goodness that often shows up in comedian flicks such as gems like Orange County and Harold and Kumar (also buddy stories with feel good endings.)  

    The absolute highlight of the film is the dare I say genius comedic performance of Michael Peña as Chango, the highly trained assassin.  This was a performance I couldn’t miss one moment of, making it through the entire film without a bathroom break in fear of missing his moments.  Well thought out and character driven, the role was completely unique and obviously sculpted by Pena’s attention to detail and comedic chops.  Aziz’s usual funny man, deer in the headlight antics work well, especially when paired with the very serious and committed Eisenberg (even in a comedy the actor’s emotional  scenes involve involuntary face twitches that only add sincerity to a hilarious script.)

    Amidst the summer blockbusters perhaps the real worth of your 15 bucks lies in the hands of some small town crooks and a couple of dudes aiming to make you laugh.  They succeed.  See it.

Midnight in Paris or All Hail Mr. Allen

    "It’s a place to visit” says the disdainful mother of our hero's fiance which is a tell tale clue of the obstacles charming Owen Wilson as Gil faces with his engagement to haughty Inez played perfectly by Rachel McAdams.  An engagement that promises the thrilling possibilities offered by a connection into an even haughtier right wing republican family who’s catch phrase seems to be “cheap is cheap.”  But a place to visit isn’t good enough for Gil in this beautiful ode to Paris.  It’s in fact a place to stay and a place to make home.  That is for this romantic nostalgia chasing writer so yearning to escape his own reality that he slips into a another more promising one at midnight’s stroke in the glorious world of Paris circa roaring 20s. 

    While struggling with the realization maybe this woman isn’t the woman for him, and that he is thoroughly unsatisfied with his present conditions, Gil willingly enters a world where promise lies in the words of Hemingway, he stumbles upon Dali in an abandoned diner, he finds an editor in Gertrude Stein. Woody Allen’s newest gem of a film captures perhaps his own whimsical fantasy of the lost era of Paris most of us wish to be found in.  The movie opens with a typical Woody stunner, full of the places in Paris you either miss from your visit or know you would love if you got the chance to see the city you’ve dreamed of.  As a huge Woody Allen fan I hemmed and hawed, sighed and cried through the entire film, most likely irritating the bored hipster in front of me who couldn’t appreciate beauty if it wasn’t being blown up or sexualized or if the dialogue wasn’t in the form of the speedy needs for entertainment these days.  He probably came so he could say he had seen Woody Allen’s new film and really liked Sleeper in film class.  The dialogue was in fact perfect, instigating empathetic groans for the common sufferings of man who doesn’t seem to quite fit in.  While its pace wasn’t speedy, I languished in the fleshed out scenes that also featured the absurdly romantic streets of Paris so if you’re bored go away, grow some culture.  There always is an element of “the cheese” in all the best stories, and Woody doesn’t fail to bring it with the telling of his pristine Paris and the historical genius’ it housed.  I find it liberating that a writer/director feels so free in his own work that he could convincingly create a fictional tale and you can walk away feeling like you have had a chance to get to know Ernest Hemingway.  Thank you Woody!  I’ve always wanted to meet Ernest Hemingway.  

    The cast was as eclectic as the characters written in, with a special place in my heart for the beautiful Lea Seydoux and the effervescent Marion Cotillard.  It almost seems unnecessary to single out one actor for as usual Woody has put together a perfect ensemble, with actors who seem to balance each others scales while at the same time work roller coasters into Allen’s inspired writing.  All in all a beautiful fantasy that has you face the reality that perhaps we just weren't made for these times.

True Grit or why did it take me so long to see this film?

    Too often films are overhyped, we all know this problem.  Friends go on for years about how amazing The Kings Speech was or every other facebook post boasts the brilliance of Black Swan and when you finally get the chance to see the damn award winning film, after you muster the energy and the money and the time you arrive at the theatre hopes in hand only to think Oh.  Well quite the opposite in the case of True Grit at least for me.  I heard it was ok.  I heard it was boring (let me try to remember who said that and stop planning play dates with them) I heard many say average but it just goes to show you what allowing yourself your own experience with a film can do for your relationship with that piece of work.  This weekend I took my lazy ass to see True Grit (being that I'm in Brisbane, Australia and every movie playing here is about 2 months behind schedule) anyway I finally saw it.  YIPEETAYAYA.  And I aint kidding.  This was a damn good film.  First and foremost thank you Jeff Bridges (as Rooster Cogburn).  Thank you for sounding like you are chewing marbles.  Thank you for reminding me of my dad even when you are playing a cowboy 120 years ago.  Thank you for swallowing lines so that I cant hear you, yet I smile at what you just said as if it might be the most rousing piece of text yet to be heard.  Thank you for being Jeff Bridges and for making this film just a poofteenth short of being my favorite film of 2010 (Social Network baby!  Winner of this years best picture at the Oscars...oh wait no it wasn't...that's bullshit.)  Jeff Bridges saunters around True Grit like a man who's boots have fit since the day he put 'em on, while it takes the rest of us years to work 'em in.  It's as if Bridges was cowboy-booted as a baby.  And it wasn't just Bridges alone that charmed the pants off me, here comes Matt Damon playing a character role like a character!  I mean we could have brilliantly switched in Carol Brunette, his performance full of gestures and nuances each perfected by comic know how.  Matt Damon as La Bouef starts out in the film a cocky son of a bitch and ends up well a cocky son of a bitch but not without warmth, growth and the charisma cached away in his frown lines alone.  Thank goodness for the Coen Brothers and their magic.  Bringing us movies that are funny and full of characters we wish we knew. Hailee Steinfeld (Mattie Ross) is a boss, girl can act.  I'm not going to say too much about her, let's see how she does in the next film and hope that True Grit wasn't just beginners luck right out the gate.  Barry Pepper (Lucky Ned Pepper) as usual manages to make an lasting impression even with only about 5 lines as well as the always committed Josh Brolin in a grimy turn as the villain Tom Chaney.   True Grit is chock full of surprisingly complex characters who make you laugh and moments warm enough to make you cry.  The sprawling range of land they used for their cowboy trek was stunning and reminds us of life in the wild west, days and nights I'm happy I never had to face.  There was a certain acceleration in the plot that sorta snuck up on itself and I felt as if something was left out of the story which was my one complaint although this can be common to westerns and the only thing it did was leave me wanting more.  Although it may have taken me a long time to get around to seeing True Grit, it wont be long before I want to see it again.

Animal Kingdom or Silent but Deadly

    Quiet but effective Australia's 2010 indie that could, Animal Kingdom stands out with a smart script, a fabulous cast, a strong score and a seducing pace that moves languidly throughout the tale of a crime family struggling to survive against the blood hungry armed robbery forces.  Obviously not an American thriller, Animal Kingdom relies on searing looks as opposed to car chases, on imagery instead of seizure inducing flashes of action. The great thing about foreign films is discovering a new batch of artists to get excited about, this film being no exception with a sampling of Australia's best (including a sturdy performance by more well known Guy Pearce).  Ben Mendelsohn is a powerfully creepy predator playing Pope who seemingly rules the pride stalking his way through scenes like some alley cat you wouldn't want to come to terms with.  His leering sideways glances chilled me to the core, ready to pounce, kill and capable of even more, which left almost too much to the imagination and in a way that added to the thrilling quality of the film.  Jacki Weaver plays the devoted den mother disarmingly endearing with the cold-blooded manner of a lioness that hunts to kill.  Her presence is minimal yet strong and had me one moment wondering what it was that got her nominated for an Oscar and then all of a sudden giggling at the sheer genius of a simple lift of her eyebrow and the entire story it tells of a woman who will stop at nothing to protect her sons and doing so in a behavior that seems natural, stirring her tea amidst the primeval chaotic wilderness her family has created with their crooked ways.  Joel Edgerton as the handsome ill fated, wrong crowd right guy Barry, Sullivan Stapleton as the tough yet fragile brawn, and Laura Wheelwright as the girlfriend who gets unfortunately caught up with the family drama were also compelling in their supporting roles.  Narrator and lead, Jay played by James Frecheville seemed plucked from the streets of any neighborhood at any time, perfect casting for a character that uses a sort of hypnotic monotony to tell its tale in this non assuming thriller that almost allow you to create your own emotional backdrop without forcing overt violence or convoluted plot lines.   He states in the beginning "kids just are where they are and they do whatever they are doing" which simple as it may seem, is a profound description of Animal Kingdom and the family's tale it tells.  Definitely see this unstoppable force about the powerful parallels to a crime family and the eat or be eaten nature of jungle living.

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