"Philomena" Review

I have had the great pleasure to have been raised in an a predominantly Irish Family, and have traveled to Ireland four times in my life. I have been instilled with Irish traditions and customs from my late Grandma Bridie, and my family that still resides in County Donegal, all of whom are among the finest people I have ever had the magnificent fortune of meeting. My Uncle Sean has even taught me a scarce few words of Gaelic. Given my Irish background, I found a deeper appreciation of the lifestyles and culture found in Philomena. 

Philomena Lee was forced by nuns to give up her infant son Anthony when he was only 3 years old. 47 years later, she can no longer live with the secret and recruits Journalist Martin Sixsmith to help track him down. The search leads them to America, where they not only try to find the truth in what happened to Anthony, but also the truth in themselves. 

The story, which is based on reality, is nothing groundbreaking and not done before. Yet it is the tenderness of Philomena and her journey towards finding her son which keeps the film from growing stale. Yet, it has deeper meaning to it then a mere investigation movie. It is more of an exploration of soul and faith than it is fact based journalism. You almost get the sense that when her son was taken from her, so was her soul in a way. Now she is looking for both. And to Martin, it explores his belief in a higher power, and quite powerfully so.

However, in spots, the character development is rather uneven or glossed over. When we first meet Martin, he seems rather distant, but almost immediately changes his mind on an important decision without showing any reasons for doing so. He shifts his growth a number of times throughout the film, and it simply isn't satisfying for his character arc in the end. 

The cinematography in this film is quite magnificent, despite the lack of a nomination. There are many places that I haven't been, and many sights I haven't seen. But for everywhere I have been, I have seen nothing to rival the majesty and beauty of the Irish landscape and the quaint charm of Irish villages. The film does them great justice. The sights captured offer a great taste of that majesty. 

Dame Judi Dench does a brilliant job as Philomena Lee. Where you would think that she would take a character such as this, she does the complete opposite. And all the better. For all the suffering and heart break Philomena has suffered, Judi puffs her up with a smile and an optimism that keeps the film upbeat, even in the dark moments. But when it calls for it, she isn't afraid to speak her mind. I don't expect her to walk away with an Oscar for this role, but she certainly deserves the nomination she received. (Certainly more that Meryl Streep).

To American audiences, Steve Coogan has mainly been an embodiment of the common perception of British people in Ben Stiller or Will Ferrell comedies. Here, we get to see him in a much more straight faced form that doesn't feel like he's trying to conquer new ground. His cynicism and reluctance form a balance to the film. And despite the uneven character he has written for himself (yes he also served as writer), he crafts a fully interesting role as well. 

It certainly won't win Best Picture this year, but Philomena is a touching, heartfelt story. Even if just a bit uneven. 

B

"Ride Along" Review

If you remember my review of the movie Grudge Match, you'll recall that I found Kevin Hart to be the most entertaining part of the film with his supporting role as Dante Slate Jr. Kevin Hart is easily one of the funniest and smartest entertainers in the business. His energetic style makes him endearingly funny. His honesty makes him real. He tries to connect to his audience more than most people do. That being said, he hasn't really had major success in the cinema. Does Ride Along help him in that field?

Ride Along is about security guard and police academy hopeful Ben Barber. He wishes to marry his long time girlfriend Angela Payton. The problem is that she won't go through with it without her Police Officer brother James' blessing. In order to gain James' approval, Ben joins him on a police ride along. 

There is not much humor to be found in Ride Along, aside from a couple scenes. It relies mainly on old buddy cop cliches and seeing how our leads react in those situations. It doesn't really elicit much humor and frankly comes across as boring. We've seen them before so many times, and there is really no originality stemming from them. How many times can we have an angry Captain or Lieutenant that thinks that the protagonist is just playing by their own rules? There are so many creative people in Hollywood, it's about time we get something new. 

Director Tim Story doesn't really make anything out of the film. It all feels extremely forced and fake. A scene in which could have given the film a little bit more weight does not land at all, and is played off for laughs that just don't come. It is very clear that for almost everyone involved, this is just a paycheck. It is sad really. The premise had the potential to be so much more. 

Kevin Hart is the glue that keeps this movie together, but that isn't to say that he is a great actor. He simply provides the only real laughs. His jumpy-ness and kinetic energy keep the movie alive, but he never really dives into who his character is. He will surely have a great career, and cinema will be a big part of that. But this isn't a really a good showcase for his talent. If he wants good leading roles, he needs a script that really plays off his personality. 

Ice Cube is good at what he does, but I wouldn't really call it acting. He is mainly just reading a script with a deep voice and a scowl. That being said, he can be entertaining, but in order to carry a picture, he needs more substance. He just seems bored, and in turn, so will the audience.

The only person in this film that really feels like they are putting anything into their role is Laurence Fishburne. His role as the mysterious villain Omar came as a real surprise. He is dark, yet brooding, and gives a chilling turn with nuances that standout. Nothing that will create awards buzz, but certainly the best performance in this movie.

Skip this movie. While Kevin Hart and Laurence Fishburne save this movie from complete failure, it's simply not that funny. 

C

"Lone Survivor" Review

Films about the Military can vary in their story, message, and content. They can be propaganda films which encourage you to buy War Bonds, they can be grim tales of sacrifice, they can even be comedies about the making OF a war movie. The best ones are those that fully scope all aspects and cover all bases. This is where we find Lone Survivor. 

Lone Survivor tells the true story of 2005 Operation Red Wings in Afghanistan. A team of four Navy SEALS is tasked to either kill or capture Taliban leader Ahmad Shah. When the mission is compromised, the team finds themselves in a firefight while struggling to re-establish communications with their base camp. 

It doesn't necessarily glorify war, but it accurately shows that certain actions are necessary. Rather than simply come across as another action/battle popcorn movie that waves the American flag in your face, it actually carries some dark yet gripping messages. It has a lively debate about the Rules of Engagement and sparks a very lively debate upon the moral dilemma that soldiers come across in the field. It has a nice mix of action and story that will certainly keep audiences entertained throughout.

One of the best aspects of the film is how well it handles it's conclusion. In the interest of preserving the film, and avoiding spoilers, I will simple state that the film is heartfelt and honest in demonstrating that in war, there can be innocence and shades of gray.

Mark Wahlberg does magnificently in his role as Navy SEAL Marcus Luttrell. With a sense of both duty and humor, he loses himself into the role with his morals and his emotions taking us on a roller coaster. We find ourselves rooting for him when he is at his darkest points. And Wahlberg does not disappoint in any way. 

Eric Bana does well in his capacity as Lieutenant Commander Kristensen. With a sneer of command, and a deep sense of caring towards his troops, he keeps from becoming a cliched commander who does nothing but bark.

It's also nice to see a good performance from Taylor Kitsch after a string of failures. As Lieutenant Mike Murphy, Kitsch serves as an excellent counter to Wahlberg. With his own sense of morals, he elegantly demonstrates that just because one person is right does not mean that the other is wrong. 

There are some very gruesome images in the film that may make the squeamish uneasy, so viewer discretion is advised. But otherwise, I suggest Lone Survivor be on your radar. It's a well rounded war picture that doesn't flounder. And surprisingly decent coming from the director of Battleship.

B+

"Inside Llewyn Davis" Review

The Coen Brothers have made some of the most memorable movies in the past 30 years. From Nicolas Cage and Holly Hunter stealing quintuplets in Raising Arizona to Jeff Bridges, Steve Buscemi, and John Goodman creating trouble in The Big Lebowski, they have mastered the art of intelligent comedy. Dramatic fare such as No Country for Old Men, A Serious Man, True Grit has brought them critical acclaim. Thus, the latest film from the duo was highly anticipated by their cult following, which include myself. But where does Inside Llweyn Davis land on the scale?

Set over the course of one week in 1961, Inside Llewyn Davis is about the titular folk musician who is trying to develop a solo act after his partner threw himself off the George Washington Bridge. Broke and Homeless, Llewyn goes from couch to couch. He is at odds with most of his friends, and wanders around with his guitar and his friends cat trying to find a gig. With little recourse, he goes to Chicago with two eccentric strangers in an attempt to meet with a famous record producer.

The film certainly has enough substance to carry itself through the end. It's a very touching underdog story that makes you root for for the down and out hero. At the same time, it also illustrates the burden that he imposes on the people that he supposedly cares about. He's a nuisance, but he's a lovable nuisance. His struggle is interesting enough, and the characters that he meets bring out his emotional fire.

The trouble is that while on the surface, Llewyn Davis looks like a soulful individual with a dark inner struggle. But it never goes any deeper than that. We never really go "Inside" Llewyn Davis. It is very much a surface picture. As a character, there isn't a lot of development. He doesn't really change as an individual for his experiences, and in the end, there isn't a lot of payoff.

The music fan and animal lover will certainly enjoy the picture. The songs are full of heart and never really feel out of place. There's a very catchy line that most musicians will enjoy: "If it was never new, and it never gets old, then it's a folk song." As for the animal enthusiast, the cat in the film serves as great symbolism for the journey. I have always marveled at the ability of filmmakers to get animals to perform on cue.

Oscar Isaac turns in a good performance for what the script allows. He has a great singing voice, and enough emotion to justify his casting in the lead role. He doesn't do anything that deters the film in any way, but I feel as if the script was a bit deeper, Oscar would have been a bigger awards candidate.

Carey Mulligan is also sufficient in her role as Jean Burkey, giving equal parts rage and understanding. There is a moral ambiguity to her character that keeps her from just being a stale voice reason.

Justin Timberlake doesn't get too much to do in his role as Jean's husband, but for what he is given, he does brilliantly. In my "Musicians turned Actors" theorem, Justin is clearly one of the best to try his hand at the latter. He has enough substance to him to keep him from just being a script reader.

John Goodman also has a brief role as Roland Turner, a cantankerous jazz musician that Llewyn travels to Chicago with. At first glance, he seems to simply be another cynical, glass half empty deterrent to our protagonist, which is something Goodman is terrific at, but there is something more to him that Goodman gets to work with that makes him that much more interesting.

It certainly won't be the best or most memorable Coen Brothers film, but it's certainly not bad. Inside Llewyn Davis has enough to it to make it worthwhile, so give it a look. The music fan will certainly enjoy it.

B-

"August: Osage County" Review

Broadway and Hollywood have a very complicated relationship. It can often be argued that the former created the latter. People go far in both categories, some more in one than the other. For years they have built off of each other. The biggest connection however would be movies based on Broadway shows and vice versa. Sometimes, they translate well. Sometimes, they are awful. For August: Osage County, it's a mixed bag. 

Based on the play of the same name by Tracy Letts, August: Osage County is about a family that is reunited by the sudden death of the family patriarch. Every member of the family has something to hide, and needless to say, it is a less than pleasant reunion. 

What works about the film is the truth that the characters find in each other. There is no mistaking how deeply written each one is written, all of them have their unique quirks and secrets. The script is fully fleshed out, and it absolutely has a deftly original story to tell that makes common tropes interesting again. It goes to EXTREMELY dark places that make you feel very uneasy, but in the end there is payoff. I will also say this, it may have one of the most tension filled and interesting dinner scenes I have ever watched.

What doesn't totally work about the film (but doesn't ruin it) is that it IS a film. The acting in this movie is nothing short of transcendent (I'll review the individuals in a minute), the problem is that I can't help feeling it would be more at home on a stage. The dialogue is incredibly intellectual, nothing that goes over your head, but I feel it would be much more appreciated by the theater goer as opposed to the film goer. It feels almost similar in tone to Sam Shepard's play Buried Child. (Coincidentally, Shepard plays the family patriarch in this film's opening scene.) 

Make no mistake about it, Meryl Streep is one of the greatest performers in history. This movie does nothing to change that. This role however is much less refined and than anything she has done in the past few years. As the pill popping mother and widow, she excels in the capacity as someone who is clinging on to whatever she can, and as always Streep does it with complete immersion into her character. 

Also going against his type, is Chris Cooper as Uncle Charles. Recently playing a string of villains, it is refreshing to see Cooper as a champion for innocence and peace that serves as the film's main anchor to reality. 

Continuing his streak of winning my approval is Benedict Cumberbatch as Little Charles. He plays his role with a slight naiveté and clumsiness that while not comical, serves as the light hearted spirit that keeps the film from becoming too dark. I was also very impressed by his ability to produce an American accent that doesn't feel manufactured. 

This film has an amazing ensemble cast that I could go on for hours about, but it would save time to just mention that Ewan McGregor, Juliette Lewis, Julianne Nicholson, Abigail Breslin, Dermot Mulroney, and everyone all create brilliantly well rounded characters that make this film a triumph. 

However, above all, Andrew's Standout for this movie would be Miss Julia Roberts. What is easily her best performance in years, Roberts deeply invests herself into her performance as the daughter who is losing everything that she holds near and dear. With a strong will, a keen spirit, and a rebellious spirit that refuses to be silenced, she dominates the screen with such passion for the art. She even manages to steal the scene from Meryl Streep at certain points. Yes. She's that good.

Featuring a brilliant ensemble, and a sharply written script, August: Osage County is one to check out. But it will be most appreciated by the Broadway fan. 

B 

"Her" Review

When one thinks of Science Fiction, often what comes to the mind are flying saucers, robots, or time travel.  Nothing wrong with any of those (I'll even admit to being a rather big Star Wars/Star Trek fan),  but what I find to be the most interesting variation of the genre are the thought provoking predictions of where our society is heading or even things that don't seem too distant from where we find our technology. This is the world of Her. 

Set in the not too distant future, Theodore Twombly is a ghost writer who crafts love letters for couples unable to creatively express themselves. However, he is in the midst of a messy divorce from his childhood sweetheart, and finds himself lonely. All this changes when he switches his Operating System to a new artificially intelligent one. It names itself Samantha and soon develops a personality that goes well with Theodore's. Soon enough, they find themselves falling for each other. 

As I said, the most interesting aspect about this movie is how close it comes to being Science Reality. We are not far away from having technology with which we can fully interact with on an emotional level. That's part of the reason this film both connects with it's audience on a level that they can both comprehend and be challenged into a debate over it's messages. 

The chemistry between Theodore and Samantha is probably some of the purest you will ever see.  Take into account the fact that it is not based on any form of sexualization, it is based purely on their conversations and what they know about each other. They fall for each other based on who they are, not what they look like, and that is an amazing realization. 

That being said however, you can never really forget what Samantha is. The fact that she is a computer program contributes to the major areas of conflict and make it that much more unsettling. At times the film is rather awkward when it tries to demonstrate the follies of this technology and what it can and can not do, but it gets its message across all the same. 

This is certainly the warmest I have ever seen Joaquin Phoenix. While not nearly as nuanced as his role in The Master, he still carries a tremendous amount of passion. His introverted personality isn't something new, but the way that he morphs into this world is what makes him standout. He makes you feel that the idea of falling in love with your OS is possible of being something other than creepy. 

Amy Adams also turns in a magnificent, if a little bit limited role. She also portrays a loner in her own right that is both understanding and supportive of Theodore. In the span of a month, Amy has gone from femme fatale con artist to warm, supportive best friend, and that is a testament to who she is as a performer. 

Rooney Mara does what she does best as Theodore's quietly distant ex-wife. She serves as the audience's anchor to the negative aspect and as the criticism of Theodore's character. While the audience will naturally paint her with antagonism, Rooney serves her purpose in that capacity. 

Also included in supporting roles that serve to play out different sides to Theodore are the ever-charming Chris Pratt and the lovely Olivia Wilde, and they also do spectacularly. 

Andrew's Standout for Her would be the voice of Scarlett Johansson as Samantha. Without ever even appearing on screen, Scarlett embodies a fully developed character using only her voice, and it may have the most subtlety to it out of any one in this film. She pours full emotion and complete heart into a computer program, which is no small feat for anyone. 

I would give Her a glance. It may be awkward and unconventional at times, but it's full of warmth, humor and enough substance to spark lively debates. 

B+

"Mandela: Long Walk to Freedom" Review

Nelson Mandela was not perfect. He had his faults and his flaws. I can't think of anyone who is perfect. But there is a special class of people who did so much for the world, that they are worthy of the high praise that the world thrusts upon him. Thus, if someone is deserving of a fitting tribute film, it would be Nelson Mandela. Does Mandela: Long Walk to Freedom do justice to the man's extraordinary legacy? In certain respects, yes. 

The movie chronicles the life of Nelson Mandela from his childhood in South Africa up until his election as the first President of South Africa elected in a fully representative democratic election. In between those major points, we get to see the long road towards his goal, such as his time serving as a lawyer, his services with the African National Congress, his 27 years in prison, and his personal life. 

As far as biographical films go, this one doesn't do anything particularly innovative, and tends to stay within the set formula for telling a life story. However, while it's not completely original in it's storytelling structure, it doesn't do anything that lowers the overall quality of the film or tarnishes the legacy of Nelson Mandela. 

It's certainly respectful towards it's protagonist. Almost to a fault. It would have served the story better to show us more of Nelson's development as an individual to the peace seeking revolutionary he had become. It's not necessarily dishonest, not that I can completely attest to it's authenticity, but it almost feels although it's glossing over things. Regardless, it's still a completely enjoyable story that fittingly honors one of the greatest men who has ever lived. 

Idris Elba does spectacular as Nelson Mandela. While he doesn't have much of a resemblance to the man himself, he thoroughly captures Nelson's spirit. He is absolutely a master of dialects, able to produce a South African accent that doesn't feel fake or forced. More than that, he shows us a magnificent growth for what the script chronicles, and has an emotional range that rings true to who he is portraying. 

Naomie Harris gives a magnificent portrayal of Winnie Mandela. She believably breathes life into a woman who would stand by her husband's side, but would also have her own ideals to strive towards. She is a fighter in her own right, and a strong independent woman to boot. 

Overall, it's an average biographical film that does it's subject justice. And it's anchored by two magnificent performances. Give it a look.

B 

Rest in Peace Nelson Mandela 

"The Wolf of Wall Street" Review

There was a film released in 1987 by Oliver Stone called Wall Street. Starring Michael Douglas and Charlie Sheen, it became the definitive film about rise and fall in the financial world. Stock brokers across the globe would often come up to Stone, Douglas, and Sheen and tell them that the film is what influenced them to join that world. Gordon Gekko became a symbol for greed and a metaphor for American excess. If that film was made as a comedy, it would look a little something like The Wolf of Wall Street.

In the 1980s, Jordan Belfort attempts to enter the stock industry. His boss advises him that the true path to success involves the use of drugs and prostitutes in order to focus the mind. After Black Monday in 1987, he loses that job and starts over at a penny-stock exchange, earning a fortune through the legal loopholes and climbing to the top. His meteoric rise earns him the nickname The Wolf of Wall Street.

In my opening, I described the similarities to Oliver Stone's Wall Street. But make no mistake. This movie stands apart on its own merits and in no way am I saying that it is ripoff. The movie is a brilliant, unique meta-depiction of Jordan Belfort's rise and fall. While not something that we haven't necessarily seen before, the film chooses to have Jordan break the fourth wall by directly addressing the audience by looking at the camera. His narration directly changes the images on the screen, creating several moments of surreal humor. This technique surely makes the film stand apart on it's own.

What else works about the film is the major shifts in tone that never feel forced. The comedy that emerges from the story is genuinely funny and works in the moment. But when the story takes a turn for the worst, the tone shifts to a darkness that is both daunting and suspenseful. Martin Scorsese's superior direction works its magic across the spectrum creating a consistency that is everlasting.

What doesn't work about the film is it's drawn out length. While there's never any dull moments in the film, it just feels way too long. Some of the conversations just feel as if they could be shorter, and the film does take a while to reach it's goal. Make no mistake, this is a great movie. It just feels like too much movie.

Leonardo DiCaprio absolutely steals the show with his rounded, nuanced performance. He believably shifts from a likable Bud Fox to a conniving, success driven Gordon Gekko across the spectrum. His slick delivery, and sharp mannerisms truly pop, and his magnificent emotional range is transcendent. And while I've never seen anyone on Qualuudes before, I'm sure that DiCaprio's reactions are accurate. More than Oscar worthy, it will remain one of Leo's staples for eternity.

Jonah Hill also turns in one of his best. While clearly meant to be the comedy relief, he is much more than that. His turn as Jordan's trusted partner is deeply invested and almost as conniving as Leonardo's. He is the perfect foil.

Cristin Milioti (The Mother on How I Met Your Mother) portrays Jordan's first wife. She has such understated charm and sweetness to her. She is one of the few pure characters in this film, and her emotional outrage at what Jordan has become helps to ground the film. I sincerely regret not including her on my "Up and Comers" article.

Rob Reiner also comes in as another anchor to the film. He does the same thing that he did for Archie Bunker back in the 1970s. He is our moral center. Whilst playing Jordan's aggressive father, he attempt to talk some sense into our protagonist, and he does so with the same rebellious spirit that took his career off the ground.

The supporting players include Matthew McConaughey, Jean Dujardin (from The Artist), Jon Bernthal, Kyle Chandler, and Jon Favreau, all of whom do magnificently in their capacities in Jordan's life. Scorsese has assembled a brilliant ensemble.

If you have the time, give this movie a look. It may be overly long and drawn out, but every moment has enough substance to keep you seated.

B+