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What If (2013)
What If a Rom-Com Was Actually Endearing and Relatable?
Though it concludes quite predictably and fails to (inspiringly) controvert the point it initially madefemales and males, for some reason, just can't exist solely as friends (interesting themes that could've been further explored in that realm)What If is still incredibly endearing. The film is a rare rom-com that's benefited by sharp, witty, romanticyet realisticdialogue and two outstandingly lovable leads in Daniel Radcliffe and Zoe Kazan. The two (Wallace and Chantry, respectively) happen to meet at a party in a short span of time, formally instigating a pact to remain as friendsno romantic considerations whatsoever, especially since Chantry already has a big shot for a boyfriendthereby challenging the conventional notion of male-female relationships/friendships.
The audience will quickly steer towards her relationship with Radcliffe, deeming it almost impossible that they don't end up together by the end (excusing the rom-com cliché, of course) because of their spirited, zesty, and remarkably dynamic chemistrytwo hopeless romantics who'd rather talk about the deepest of subjects, or delve further into a topic than others usually would, rather than superficially flirt with one another in an incessant manner as is the societal standard. On that note, instead of wasting a narrative's potential by outlining it with the formulaic structure that makes most of its genre frankly unbearable to witness, the majority of the duration is spent on these two interesting characters as friends, giggling and joking and hanging out with friends and shopping. We don't have the instant one-night stand upon their encounter or the trite affair reveals that conveniently lead to the next plot point.
Thankfully, the viewer is given time to believe in this potentially heartwarming relationshipa uniquely attractive/cute and quirky woman and a charming, authentic man who honestly has nothing spectacular going on in his life. Perhaps, I'm simply biased in this matter, but you would think that the most relatable romantic comedies would make for the most common and beloved, but that seems to not be the case. Instead, Hollywood gives us repulsive banalities like Something Borrowed and Bride Wars (both of them have Kate Hudson; what a strange coincidence). It's not the loud, obnoxious, and effortless relationships that resonate but the awkward, slow, and naturally evolving; something like the Before trilogy sticks out in that case and while not exactly a romantic comedy, it cements itself as the greatest of romantic movies and the greatest of movies in general. I believe there's an effective concept/design there for studios to consider in future romantic pictures, whether they're comedic or dramatic.
With that being said, What If is not a daring romantic drama; so don't expect any narrative risk-taking and thought-provoking themes about relationships and whatnot, but it's remarkably fun and effectively funny regardless. The story also has the company of the always-hilarious and (usually) likable Adam Driver who plays a caring and kind friend (something you don't see too often but you'd love to see anyway). With the right expectations, What If is certainly a sweet treat that makes you feel good and enamors you with its on-screen romance.
Boyhood (2014)
The Cinematic Achievement of a Lifetime
Wow, I just returned from the movie theater and felt like I really lived through 12 years of someone else's life. That's not a bad thing...at all. Sitting at an extensive runtime of nearly three hours, surely one of the movie's goals is to convey just that. Whenever we take a trip to the movies, we hope that once we're there, seated comfortably in a cushy seat and a darkened room that prevents one from reentering reality during the showing's entire duration (no sight of your actual environment), we are instantly transported from our own world into someone else's. No, I'm not promoting reality shows even though that could be interpreted from my rambling. The difference is that this life of another isn't highlighting trashy lifestyles and obnoxious messages while a pack of low-life's further their ego.
This view is of the life of a boya very young one of 5 years old (Ellar Coltrane). He has a bossy, occasional (playful) bully of a sister around his age (Lorelei Linklater) and a stressed, over-worked, but still deeply caring/attentive, mother (Patricia Arquette). His mother and father (Ethan Hawke) are unfortunately divorced, but his sister and he still get the chance to hang out with the dad nearly every weekend. This father isn't the standard alcoholic or high-tempered domestic abuser that Hollywood pictures usually show; instead, Hawke is a fun, genuinely solicitous, and charismatic dad who just didn't see eye to eye with Mom. Believe it or not, not all marriages (stereotypically) end because one in the relationship is acutely perverse and disorderly. Frequently, it's simply due to misunderstanding, as well as the vanishing lust/chemistry the once-romantic partners used to share.
Yes, life isn't as clear-cut as some would like us to believe, and this is exactly what I love about Richard Linklaterhonestly one of my favorite directors working today: from his Before trilogy to Boyhood, he creates an outstandingly authentic atmosphere for these grand stories. The acting is top-notchnever overblown but effectively subtle. As a result, every character within seems like a real person talking and not an actor boasting theatrics and eagerly chasing awards. Patricia Arquette, Ethan Hawke, and Marco Perella (assuming a smaller role as a stepfather) deliver transcendent performances and absorb vast complexity within every hint of emotion. There's sincere happiness, feigned happiness, the short tempers, and the haste to arguments. Everything is exhibited so damn realistically with incredible verisimilitudethe dialogue never missing a beat in making the audience feel as if they're truly witnessing this empathetic life proceed before their eyes.
And that's not even the greatest element, that of which I seem to be undermining (partially because everyone has already excessively noted and praised it): the fascinating and original premise. For the first time ever, a motion picture12 years in the makingcaptures this boy's rampant maturation from the mere age of 5 to the full-grown age of 18 in real time, meaning we get to see all of these brilliant actors age along with the narrative's span. These very actors are aging in front of you adding weight, losing weight, growing hair, losing hair, and so on. That undeniably impressive quality denies the viewer any time to address possible flaws, seeing that there are some indeedas minor as they may be.
On the contrary and as to be expected, the teenage years become very awkward, and suddenly, we observe a jarring shift from the authentic, natural feel of the childhood years to the clumsy, superficial scenes that govern Mason's high school period. It's not even the essence of what I've mentioned that's the problem because that could've all been executed intentionally, but then you have the archetypal bullies that shove and curse for absolutely no given reason (do other states really experience these types of situations because I've never spotted such overt behavior where I live?) and the clichéd "teenage" talk that is played to the most over-the-top degree. Hollywood often makes this mistake, but I was surprised to see it in a Linklater film.
Nonetheless, it's equally fascinating to recognize the current year in the narrative as a popular song from that particular year plays in the background (from 2002's "Soak Up the Sun" to 2007's "Crank That" to 2010's "Deep Blue"). The look of the film, on another note, is simple yet verily effectual. There is no artistic pretense to be seen in Linklater's film(s)no psychedelic editing or ostentatious camera shots; this is naturalism at its finest. Through infatuation, heartbreak, depression, introversion, joy, peer pressure, the "stoner stage," we follow Mason on an epic 12-year journey with every sentiment and phase that we all primarily experienced at one point or anther.
As a middle-aged individual, this could be more of a charming and heartening ride. On the other hand, as a teenager who's about to take the next step in his life (into college and professional work), it's considerably more depressing and frightening, oozing themes of responsibility, maturity, life's uncertainty, and the like. You're consequently forced to look around and reassess the course you're currently treading in life. This remarkable cinematic piece speaks to the audience in various manners as it continues to also stun with its sheer scope and ambition.
Let's Be Cops (2014)
How Can We Get People To Hate Cops Even More?
In an unbelievable turn of events, a comedy, that promotes the badass, crime-stopping life that's seemingly led by a standard police officer, releases at the height of a colossal controversy in which the true belligerent, imperious nature of the police has become ever more apparent, thus blighting the film's humor with an ominous undertone. In reality, a viewer's enjoyment of a particular movie doesn't solely stem from the actual content's quality but also from the experience in and of itselfthe people you're with, the ambiance you're encompassed by, etc. This has never been more evident, but at the same time, it complexly diverts into two separate paths of sentiment: one of sheer fun as the rest of the audience's laughter and elation mixes in with mine and produces a tremendous atmosphere heretofore mentioned, and the other of perplexityor perhaps, even, repulsion.
Now, I don't want to pose as the killjoy, but the pure obnoxiousness evinced in this film is quite overwhelming. At the very start, you have two men (Ryan and Justin) who're truly lost in their lives and have no idea of what their next step in life is, surrounded by jerks who continuously remind them of their stunted growth in potential careers. A depressing aura sets in as the sheer relevance of this predicament becomes realized, which makes you hold on in even greater anticipation for the fun to commence. Lo and behold, suddenly, that dispiriting tone of the opening transforms into the very opposite as these two disparately personified friends are inflicted with a contagious idea that leads them to don authentic police uniforms and henceforth further into their imitation of a law enforcement officer. What follows is a string of morally reprehensible acts on their part merely because they canthey obtain an (spurious) authoritative status and instantly decide to assert their power over regular people, belittling them through all kinds of mockery.
Oftentimes, you can't help but laugh hystericallyI know I didbut at the same time, you begin to question your own sense of humor and the exact decency of our two (deranged) protagonists who we're following and guffawing along with throughout. Even though plenty of scenes lead to golden hilarity, the characters involved behave rather moronically and nonsensically. Who thought it'd be a great idea to speedily drive through a soccer field, populated with adolescents, in a police car just for the gasconade of it? Ryan, the genius. Who would be that franticly avid to turn himself into the police? Justin, the upstanding citizen. One also would assume that individuals couldn't possibly be this overt in their cluelessness and disquietude, undeniably arousing suspicion from everyone around, but these two imbeciles are.
In addition, the plot relies on one contrivance after anotherthe villains are omnipresent to a laughable degree, and characters somehow run into each other at the perfect time to initiate the next plot point. In essence, this could best be described as an entertaining and laugh- out-loud funny "guilty pleasure"; though illogical decisions and plot holes profuse its every minute, Let's Be Cops ultimately delivers the laughs and thrills, especially given the fact that its last act suddenly shifts into a crime thriller with a few satisfying twists and turns up its sleeve.
Rob Riggle, Andy Garcia, and Keegan-Michael Key make very memorable appearances with the latter portraying an eccentric Latino nutcase who speaks amusing broken English and is bedecked with tattoos and various jewelries. When it concerns laughter, this film certainly comes equipped with uproarious surprises and harmonious chemistry between its two leads (Jake Johnson playing the laidback, imprudent type and Damon Wayans Jr. the more uptight, circumspect partner-in-crime). All in all, the best advice I could give to those still curious about seeing the movie: go in, forget about everything, cease any level of thought- processing, and have a good time!
Guardians of the Galaxy (2014)
Hooked on a Feeling
The latest Marvel entry casts us into outer space with a group of the most eccentric of beings, bent to fight evil in the largest-scaled MCU installment yet. Guardians of the Galaxy doesn't exactly excel in its narrative as is usual with Marvel projects. We have the standard outlandishly cartoonish villains who, of course, seek to destroy the world/universe just because. We have a substantially unequal ratio between bombastic action and quiet moments of exposition. Then, there's also the biggest flaw Marvel still has no idea how to properly utilize: stakesthe genuine sense of peril. That obviously doesn't refer to Marvel's tendency to dramatize characters' deaths only for them to miraculously emerge from the dead soon thereafter because the studio isn't audacious enough to commit. I've said it before and I'll say it again: loss has never truly been felt in the Marvel universe. With that being said, that fault isn't as obviously patent and adverse in this fun, hysterical sci-fi extravaganza as it was in a semi-grounded political thriller like The Winter Soldier.
No, Guardians of the Galaxy truly excels when the focus is on its particularly lovable characters: a puerile, exuberant charmer, Peter Quill/Star Lord (Chris Pratt); an insensitive, gun-wielding, trash- talking, badass raccoon, Rocket Raccoon (Bradley Cooper); an endearing, tender friend of a tree, Groot (Vin Diessel), a protective, yet violent and fierce, brawny behemoth of a man, Drax the Destroyer (Dave Bautista); and a beautiful alien who's definitely more sensible and efficient than the rest, Gamora (Zoë Saldana). I've always thought that Saldana can do a much better job at picking interesting roles, but she seems to be solely interested in the brash blockbusters. Alas, these are the characters she'll be portraying every timehere, she plays the stereotypical romantic interest who acts feisty at first and, for some reason, repeatedly insults the protagonistseemingly immune to his begging charmonly to gradually fall for him in an unexpectedly quick amount of time. Essentially, she's not as compelling and unique as the other characters.
On another note, I believe this is Marvel's best attempt at comedy finally appropriate, smart, and provided with just the right volume. There's a satisfying level of witticism in the jokes and dialogue, often parodying the ridiculousness of the predicament or exceptionally developing its characters. The very first scene opens up with Star Lord as he explores an abandoned, mysterious structure on some foreign planet in a faraway galaxy only to be interrupted by a group of henchmen, there to seize the same object he's after. What proceeds is a slew of poorly- executed quips (more kiddy humor than anything else afterwards)jokes that fall flat. "Oh dude!" "Chill, bro." The lines spoken by our main character feels very forced and stilted as if the filmmakers were heavy- handedly attempting to tell the audience, "see, this guy is very boyish and hip." I immediately became concerned with what would ensue.
Thankfully, it was all uphill from there as the amusement of each sequence persisted, confining this magical chemistry to incredibly entertaining situations. Each character is afforded effective screen time. Once the movie nears its climax though and the villain truly takes up the spotlight, the action intensifies and the screen perpetually lights up with blazing guns and detonation, but the clever humor and brilliant character interactions that made the film clearly subsides. It is very evident that Marvel Studios hasn't mastered the art of a villainthey're all diabolical in the most hyperbolic way. They all have the most extreme, but seriously void, of motives. They must cause destruction and speak coarsely and laugh creepily. By this point, we must all get used to the fact that everything is black-and- white in the Marvel universe. For some odd reason, they have chosen not to be creative in this area and to use the same ol' conflict every single time.
Furthermore, another amazing quality of this wild ride is the pumping, fun soundtrack that complements it from classic rock tracks like "Cherry Bomb" to upbeat, groovy pop songs like "I Want You Back"all wonderful mixes from the 70's, originating from Star Lord's shabby Walkman, to stay in tune with the era of his upbringing before he launched into outer space. The sheer energy of the soundtrack discharges as gorgeous, vibrant colors of blue and violet radiate through that IMAX screen, infusing you with wonder and excitement as if you were watching Star Wars for the very first time back in 1977. There's something about sci- fi action flicks like Star Trek, Star Wars, and now this recent spectacle that never gets old and continually stuns you with the grandeur and adventure up on display.
Calvary (2014)
The Gray Area of the Religion Debate
Over the years, the exact prevalence of religiononce a practice of every living individualhas begun to diminish. Even a land that predominantly houses Catholicism has seen many members stray from its church doors and holy hands. Father James Lavelle, a priest played by Brendan Gleeson, seems to be a hopeless believer who's surrounded by a heap of obnoxious, disrespectful townsfolka priest who seeks to absolve humanity from the remnants of sin that still plague it, still naïve enough to realize that goal is frankly impossible. In a world of drunkards, murderers, adulterers, rapiststhere is no saving grace. This determined idea of forgiveness and cleansing fixed into Father James' devout mind might very well be his downfallan idea of terrible ignorance, especially considering the fact that he belongs to a faith organization that has persistently concealed atrocious acts of child sexual abuse and the like for many decades.
Are these mean-spirited neighbors not justified in staring at this priest as if they were to spit in his face any minute, bearing in mind his profession and ties? Parents of this town are frightened for their kids, and though Gleeson in particular is good-natured and harmless, the mere sight of him accompanying a pre-adolescent immediately distresses the mother and father as they instantly grab their child with disgust on their face pointed at this poor old man. But again, the situation is so complicated and the multifarious angles described in such a predicament can be deemed understandable from the appropriate perspective. Those parents don't know Father James to the extent that we do, and to them, he's another one from the Catholic Church.
Despite being an Atheist myself, Calvary nonetheless paints a complex picture of a world divideda film of great depth in its spirituality and philosophy. The majority of the movie is spent in local pubs and homes, laying witness to rich conversations between Gleeson and struggling townspeople whether it concerns his suicidal daughter (Kelly Reilly), a corrupt, yet conscience-stricken, banker (Dylan Moran), or an elderly man on the brink of death, enjoying the sound of a typewriter's clinking as he writes his final story (M. Emmet Walsh). A grim and depressing film this sure is, yet markedly powerful and thought-provoking as well. It advances on to ask questions and leaves us in wonderment. From an atheistic standpoint, it still left me with sympathy for this goodhearted man despite the fact that he was a downright preacher.
At the start, it seems like Gleeson's authority reigns supreme over the town. Being a priest, the people address him as so and welcome him to tête-à-tête, but as the narrative progresses, these same people increase in hostility and insolence as if the events over the past few days have suddenly changed their position. Once again, one of the most important issues this tale touches on is the infamous string of rape cases within the church hierarchy. In Ireland, alone, an influx of 9000 statutory rape reports came in in a single day when child sexual abuse truly came to light back in the 1970'sback when the hypocritical wickedness behind those sanctimonious quarters was gradually revealing itself to the faithful and the doubters alike.
And in this case, Calvary begins with an unknown individual who enters the confessional to discuss his prior sins with Gleeson only to actually begin spouting his utter anger at the church, recalling his years of youth when he "first tasted semen at the mere age of 7." His abhorrence for the clergy has stayed with him to this day and to the point where he vows to murder an innocent priest (Gleeson) as he was once attacked as an innocent boythe desecration of purity or decency (though this man is not aware of the fact that Father James was once an alcoholic and fought with his own fair share of sins; he's not exactly the most guiltless being anyway).
Similar to last year's Philomena, Calvary emphasizes and criticizes the various facets that have wounded the Catholic Church's public image and forever changed many people's views of these institutions. Now, this movie is quite interesting on a tonal level because at times, it can be exhaustingly tragic and somber, but at the same timeevery now and then the witty style of the script will force you to guffaw at the expense of very serious subject matter. It's a tricky area, but Calvary's particular genre would best be listed as "dark, dark comedy"the darkest of black comedies. Nevertheless, its mixture of humor, sincere/thoughtful themes, and a memorably tragic tale allowed this drama to cast its lasting effects into my mind long after I've concluded it.
Even though its stance and thematic material is substantially more ambiguous in comparison to Philomena's and some of the motives are left frustratingly opaque to the audience, the film just couldn't leave my thoughts. I would instantly recall its melancholy, Celtic score, its gorgeous and gloomily-lit cinematography (notice that the film cuts from the increasing hopelessness/bleakness of the narrative to shots of roaring waves and darkened nature as if to symbolize the ineluctable storm that the ultimate end of this tale is to bring), and the soulful emotion that drives the narrative forward. Calvary, much like another recent picture (A Most Wanted Man), delves you into contemplation over heavily controversial issues that continue to bedevil society into perpetual argument.
Lucy (2014)
Tries To Be Smart but Embarrassingly Fails
Scarlett Johansson has been on quite the roll as an action star as of late, bouncing back and forth between her more expensive (Marvel) projects and more peculiar and experimental ones. Though Lucy might appear to be the formera clichéd, loud extravaganza of mindless, fun actionfrom the trailers and the like, the truth is that it (somewhat) belongs to the category of the latter. A Taiwanese mob implants a mysterious drug called CPH4 into her stomach, and very soon, she discovers that access to her cerebral capacity has surpassed that of the normal human being. Apparently, that means that she can now wield ridiculous superpowers that allow her to tap into people's memories and extract any bit of information from whatever object/individual that existed within. It also means that she can levitate anything and anyone, as well as teleport to any location she so wishes.
Right from the get-go, you'll have to get used to the fact that the premise is incredibly unbelievable; the plot will get even more outlandish as it progresses, and don't worry: the movie will warn you with a continually increasing percentage (indicating just how much of the brain she can now utilize) every time events are about to become even more preposterously implausible. Once you get past the utter lack of realism and plethora of plot holes, what you experience is pretty badass. It's heavily stylized with its sci-fi componentsit honestly reminded me of something like The Matrix, especially when considering the more twisted acts of violence. Complemented by beautiful cinematography (lavished with appealing colors and futuristic characteristics), this film is a blasta lightning pace and intriguing set-up.
Everything, aside from the ending, offers an abundance of thrilling amusement, and part of it obviously is due to Johansson's fierce presence. Even though Marvel Studios' rendition of Black Widow is softer and more forgiving, Lucy can be ruthless and calculating just like the original Marvel comics portrayed the Russian spy, Black Widow, as. However, eventually, the narrative takes a turn for the insane as convolution and far-fetched absurdity floods the plot and the sheer power Lucy truly holds furthers into the realm of sheer impossibility. The focus on high-octane, compulsive action is therefore abandoned and substituted with a confusing climax that only makes you wonder about what the hell this film which started out with a gripping basis has transformed into.
So yes, the tale's unraveling heightens in ludicrousness, but at least, it's entertaining and cool. On the other hand, when it comes to the film's attempt to assess the themes and depth to which the idea of an increase in cerebral capacity goes, the arguable failure of this project certainly arises. First of all, this story is centered around a myth (humans only use 10% of their brains) that's already been debunked by guffawing scientists, creating irritation in the viewer as they continue to roll their eyes at the filmmakers' ignorance and clear unwillingness to properly research the subject. Secondly, as I've pointed out, this increase in intelligencethe ability to use more of your minddoes not mean that you'll suddenly turn into some terribly powerful superhero.
If Besson didn't concentrate on producing a Limitless rip-off and simply decided to produce an absorbing sci-fi action film instead, Lucy wouldn't have been as annoying of a film, but if we're incorporating serious topics that beg the audience to recognize intellect in the project, don't expect to hold that compelled audience when you begin betraying realism and truth (of the topic). At the end of the day, Lucy is mostly fun, but it's ironically stupid fun as much as it tries to be smart fun.
Sex Tape (2014)
An Unexciting and Safe-played Sex Tape
Sex Tapestarring Cameron Diaz and Jason Segal as an exhausted married couplepromises a bountiful supply of raunchiness, nudity, and sexual jokes, judging from its countless advertisements and summaries. The premise centers around the fact that this couplefar into their marriage and frankly too tired from their daily family responsibilities to return to their formerly active sex lifefinally decides to shoot a sex tape in which they present all the various sex positions that can possibly spring into one's imagination and then some more. Suddenly, the following morning, they discover that their little sex tape has surfaced onto every single iPad that Segal gifted to their friends and coworkers, including Diaz's boss (Rob Lowe). They are then forced into a frantic race to ensure that not one of them is able to lay their eyes on it.
The premise seems to lay the groundwork for a fairly exciting and fun comedy from the sound of it. However, once the movie quickly zooms past the making of the sex tape (an area of great potential for sex jokes and whatnot) and gets right into the conflict, all hope is lost. With a title like "Sex Tape," an R rating, and an explicitly titillating premise, you'd expect something completely different from what you actually get, which means that you seriously feel like you've been misled by the tricky people behind this project. Instead, the movie plays as a traditional PG-13 comedy that's devoid of any hint of edginess.
With that being said, the film has its funny moments, but they ultimately stem from the (intentionally) awkward and ridiculously unrealistic scenes. Every opportunity at a clever play on the idea of a sex tape is painstakingly passed overeven one of its actors (Rob Lowe) who infamously produced a sex tape in the younger years of his career isn't taken advantage of here. In actuality, the director (Jake Kasdan) wasn't informed of the irony in casting Lowe for this picture, thereby proving how little thought was put into excelling this comedy. On the other hand, Lowe still remains the highlight of the entire show, providing most of the hilarity as he portrays Diaz's surprisingly bizarre, yet highly friendly, boss.
In addition, there's a special cameo surprise waiting for us towards the finishing act that also shines in the brief screen time available. These two (Lowe and "special guest") overshadow Segalwho strangely always appears as if he's stoned out of his mindand Diaz who usually plays the obnoxiously loud and liberally sexual type (her role in this case somewhat differs from that description, but she has nothing to offer here anyway).
In terms of plot, by the end, it leads to such an outlandish point that it becomes wholly embarrassing in its implausibility for all those involved, and by then, the audience is likely laughing at the film itself more often than along with it. All in all, Diaz wasn't daring enough to take the same path Johansson took with Under the Skin and refrained from any major skin exposureSegal did more in that department as we've come to expect after that uproariously shocking opening in Forgetting Sarah Marshall. The humor always feels like it's holding back, and nothing of special note really transpires in this overall misfire.
Third Person (2013)
A Third Person Seemed To Be Too Much For This Tale To Handle
Third Person seeks to explore the betrayal of trustthe betrayal of fidelity and friendship. Paul Haggis, the director, has made a career out of making films that interweave numerous story lines. In this case, Liam Neeson, Olivia Wilde, Adrien Brody, Mila Kunis, and James Franco all comprise a wonderful ensemble that demands a range of powerful emotions to drive this story through its incessant melodrama (no negative connotation applied). The narrative here focuses on the romantic relationships and affairs that unfortunately still plague society and humanity's untamable nature. I'm sure we all know the implication of the film's title ("Third Person"), and with that, the drama goes on an almost two-and-a-half-hour drive through tense dialogue, flirtation, and sexy teases.
The movie teases and teases but never seems to reach the climax that its lengthy build-up continually suggests. Its first hour is fairly compelling in its set-up, deliberately introducing the audience to the exact predicament and its hapless participants. The plot over the rest of the film unravels quite cryptically, as well as in a manner that might appear heavily contrived to many viewers. There is a certain degree to which a suspension of belief should absolutely be mustered upon entering this picture. Aside from the contrivances, moments exist within that play to extreme dramatic effect but actually lead to a whole lot of nothing. After a great deal of meticulous development, a character screams and terrorizes a room out of realized anger as a tragic score plays to the segment's tune even though that scene essentially has no consequence in the sequences that follow (the character simply returns to a former state) as if the filmmaker was stylishly proceeding towards tragedy and quickly mopping up soon thereafter.
The actors themselves do a fantastic job and glue us to the screen albeit the script's occasional muddling of the conflict at hand. Adrien Brody, in my opinion, is the standout here, possessing a complex personality that battles between moral decisions and his wild desires. The writing in the first few scenes of his arcwe find him in a bar having a natural conversation with a mysterious woman (Moran Atias) as we immediately discern his dislike for foreign environments (particularly Italy) and his highly talkative, forceful nature. Olivia Wilde and Liam Neeson share the screen in probably the most compelling storyline where Neeson's strong infatuation for Wilde lends itself to perfidy and constant ridicule. Wilde's character plays a hard-to-get, but incredibly seductive, "sexpot" who tests Neeson's true loyalty to her while he starts to construct his next novel. Mila Kunis' part of the tale is definitely the least intriguing in its somewhat clichéd essence she's bouncing from job to job, barely able to pay her monthly bills and struggling to reclaim her kid who was taken from her based on accusations of abuse.
Like I said, all of these individual threads in an interlocking story initially engross, but then, Third Person starts to drag on and on. It sits at a runtime of 2 hours and 17 minutes but honestly feels like it's reaching the 3-hour mark. The connection between these separate stories begins to materialize the further we advance into the plot while also shadowing it with plenty of confusion at the same time. The last scene is a head-scratcher in a bad way. You're scratching your head because that "da dumb" twist moment unintentionally goes over everyone's head and falls flat in its execution. So, wait: how are they exactly connected thematically and emotionally? All I witnessed was a multitude of contrivances that saw these characters crossing each other's paths for a few seconds. Of course, there's a reason to all this once the very end comes to fruition, but the point of the entire ordeal sorely misses its mark. There's too much going on with the quick cutting intensifying as we progress, and none of the arcs conclude satisfyingly.
With that being said, I still respect Haggis' ambition and his ventures into such heart-rending tales. Contrary to general reception, I genuinely enjoyed Crash, and now, I most likely find myself enjoying Third Person more than most as well. It's primarily absorbing throughout, just a tad bit too long and woolly.
Dawn of the Planet of the Apes (2014)
A Technical Upgrade, A Narrative Downgrade
Whenever people accuse me of being an unreasonable hater of summer blockbusters, I immediately refer to my love for 2011's Rise of the Planet of the Apes or perhaps it's because that was one of the few smart blockbusters in a while. There was a lack of superficiality and a lot more honestyabout the selfishness of humanity, about the spine-chilling advancement of science and technology, about the rest of the animal kingdom's possible distaste for our kind, etc. Witnessing Caesar's ascent to leadership and pure intelligence, finally afforded the opportunity to oppose the human forces that once caged and abused him, was a major element that boosted the film's quality beyond any expectations.
Now, with Dawn of the Planet of the Apes, the gradual rise and reign of the apes over Earth continues in the highly anticipated sequel. A decade after the events of the first one, Caesar and his followers have found refuge in the forests of San Francisco, trying to maintain peace between their species and the humans. Of course, certain balances of power and damaged relationships complicate matters, deeming this desperate attempt at coexistence utterly hopeless.
First of all, the absolute strongest aspect of this blockbuster is its impressive use of technology; that of which helps create amazing performances from both Andy Serkis (portraying the relatively mild- tempered and subtly emotive Ceaser) and Toby Kebbell (portraying the deeply menacing/frightening and cunning Koba). To no surprise, the visuals are outstanding in their realism as to the appearance of the apesnever a dip in the CGI's quality in order to prevent such a premise from becoming a blatant cheese-fest, which it could've easily been (apes on horses with machine guns, for God's sake). The production value allowing for a fascinatingly different, alternate Earthand the design behind Caesar's lair is spectacular, and there's never any doubt that Dawn of the Planet of the Apes succeeds in its technical prowess.
On the narrative's front, however, it unfortunately never matches the intrigue and thoughtfulness of its predecessor, which was led by James Francoa considerably more charismatic presence than any of the human characters here. We also had John Lithgow whose disease-stricken character brought a heartbreaking facet into the mix, again more captivating than any of the characters in the sequel. I mean, Gary Oldman (an otherwise fantastic actor as we all know) is barely given any material to work with in this case; Keri Russell really has nothing to do besides express her concern for her husband, Malcolm (Jason Clarke the human lead of the film) who is fairly devoid of personality as well besides the fact that he's really curious about Caesar. In fact, Koba and the primate overlord are truly the only interesting characters in the story as their conflicted friendship resumes.
I also found it distracting how kind and forgiving Caesar was depicted in this film as opposed to Rise. The filmmakers seemingly played it safe and shined away from a potentially engrossing human-versus-ape war and instead focused on the ape-versus-ape conflict that's stirred between two troubled sides. Herein, we're presented with a common tale about two political positions in a cultureone is the good guy who wants peace and the other wants to eradicate the race, in question, altogether and solely live with his own kind. How often have we seen that? Well, the audience will be seeing it again, thereby stifling the momentum that Rise carefully and cleverly constructed in which the slow, but eventual, overtaking of the apes was a lot clearer.
For the sake of further comparison, the 2011 installment presented a compelling study of scientific advancement and the apes' intellectual and emotional growth in their revolt against the ruling race that is humanity. Here, the apes try to be as benevolent as possible and forgive every wrong human action, as severe as they can be. In all honesty, there are very few complex characters in this follow-up; you're either outlandishly villainous like Kobaor let's look at an over-the- top bully like Carveror a perfect upstanding citizen like Malcolm. Keep in mind that Dreyfus (Gary Oldman) does not possess enough screen time to dissolve the confusion formed around his exact motivations and true identityso, very miniscule depth there as well.
In terms of the movie's overall structure, the beginning is deliberately paced, introducing us to the environment that the regnant apes have erected for themselves and showcasing the interactions between our primary apes. After a tense development of the two species' relationship, we're propelled into a war film that carries a familiar friend-gone-rogue plot (closely resembling Shakespeare's revered tale, Julius Caesar, and thus entering somewhat heavy-handed territory) that unravels quite predictably and, of course, leads to an ultimate showdown between the clear good and evil: Caesar pitted against Koba. Admittedly, plenty of epically staged battle sequences and dramatic clashes await, and I certainly enjoyed the intense segments on the surface. But when you observe the film from a narrative perspective, it's utterly lacking in the surprise and creative energy that astonishingly unleashed into cinemas three years ago.
Side note: let's also note that particularly misleading poster which shows Caesar on a horse, aggressively taunting with his assault rifle, implying that he's fully prepared for war, which as we all know turned out to be the total opposite in the actual film.
Whitey: United States of America v. James J. Bulger (2014)
The Departed times Reality
James J. Bulger probably is the greatest mobster who ever lived, ending up as the second most wanted fugitive right next to Osama Bin Laden on the FBI's list. He survived 25+ years on the crime-ridden streets without even a slap on the wrist due toyou guessed itbribery. The potent gangster's wits never failed him until the very end; he had other fellow mobsters doing most of his dirty work like murdering countless people that found themselves involved in this monumental mess of a business in one way or anotherthey got whacked because they didn't abide by the Bostonian mob's rules. Not to mention, there were the innocent such as Stephen Flemmi's (another mobster by Bulger's side) girlfriend who simply chose to call their relationship off, and boom!she was dead because she couldn't be trusted anymore.
See, this crime ring began to far outstretch its original scope as the FBI, themselves, came into the fold and started covering up the numerous nefarious acts committed by these heinous criminals for favors like protection or a nice wad of cash into the pocket. Everything was covered up; everyone continued with their respective business, and everyone protected each other and let nothing slip until the eventual downfall materialized. Suddenly, several mobsters were revealed as FBI informants, and the government agents and gangsters started ratting out on one another, culminating in a colossal display of pure chaos.
This intriguing documentary adopts a crime-thriller style (oftentimes resembling the tone of a film this history actually inspired: The Departed). Acoustic guitar music plays in the background as the true depth of this whole schemethe chilling ties between the government and the menacing wiseguys out and about in our streetsunravels. An abundance of information and interviews with highly significant figures in this horrific matter flesh out an incredibly compelling and scary story of America's troubled pastof a corruption that streams not only through our transparently wicked but also through those who've promised to serve and protect us. The smell and appearance of money tempts and is never rejected by any human being, and that is the frightening point that is expressed herein: "anyone is prone to corruption" as the film strongly emphasizes. There is no escape from the toxic system we've built and deeply dug ourselves intothe depravity of capitalism will persist 'til the end of days.
In terms of documentaries in general, this will be a very entertaining experience for anyone even though it occasionally gets wrapped up in its somewhat sophisticated presentation of facts, terminology, and the multitude of individuals involved throughout this shameful era. Whitey: United States of America v. James J. Bulger also interestingly does something I see all too rarely in documentaries: even those who you witnessed being interviewed in-person somewhere during its duration unexpectedly meet their deaths in the coming months and years as the narrative proceeds, excellently showcasing the extent of time the filmmakers dedicated to this project and the refreshing unpredictability that comes with it. Overall, this thrilling account will allow you to look through two equally felonious perspectives (that are supposed to be operating on the exact opposite sides of the law, mind you) that first support each other but then come to a clash as all things do: the mob circuit and the US government. If that premise doesn't fascinate you, I have no idea what will.