Ray's Rave Reviews

Tinker Tailor Soldier Soy

2012-01-20T23:23:00.000-08:00

© 2012 Ray Wong

An espionage thriller set in the depth of the Cold War, Tinker Tailor Soldier Spy is surprisingly somber and character-driven.

Control (John Hurt), head of the "Circus" (MI6), realizes that there may be a mole within the highest rank of the Circus, he sends agent Jim Prideaux (Mark Strong) to Hungary to check out a source, Prideaux is shot in an operational disaster, and Control is forced out in disgrace. His deputy, George Smiley, is also forced into semi-retirement. However, after Control is killed, Smiley is recruited to find out who the double-agent is. The suspicion turns to Circus' new head Percy Alleline (Toby Jones), his new deputy Bill Haydon (Colin Firth), Roy Bland (Ciaran Hinds), and Toby Esterhase (David Dencik).

Smiley recruits Peter Guilliam (Benedict Cumberbatch) in his covert operation. It turns out that Gulliam's subordinate, Rick Tarr (Tom Hardy), is the one who blew the whistle. Tarr is on the run, as he has key information from a reliable source close to Moscow. Tarr returns to London and hides under Smiley's protection.

Smiley convinces Peter to break into Circus's record room to find important information. Meanwhile, Smiley has a chat with Prideaux, who survived the Soviet assassination and interrogation. Piecing all the pieces together, Smiley finally devices a plan to trap and expose the mole, but not within personal sacrifices.

Gary Oldman (The Dark Knight) is of course brilliant as George Smiley. At first, we have to wonder if Smiley is himself the mole, and Oldman successfully makes us doubt him. Oldman's understated and quiet, introspective performance gives the character his deserved gravitas. He carries the film through and through.

The huge cast of veteran actors complete the ensemble. John Hurt (Immortals) has a relative small but pivot part, and he does an excellent job. Colin Firth (The King's Speech) is dashing and charismatic. Toby Jones (The Mist) is wonderfully harsh and rude, while Ciaran Hinds (The Debt) stays mostly in the background. Benedict Cumberbatch (War Horse) does a fine job as Peter Guilliam, and Tom Hardy (Inception) is affecting as the agent on the run. But the standout is Mark Strong (Sherlock Holmes), whose soulful performance of a conflicted man is memorable.

Adapted from John le Carre's difficult spy thriller, the screenplay by Bridget O'Connor (Sixty Six) and Peter Staughan (The Debt) is just as difficult to follow, if not more. Started in media res, the story unfolds in a nonlinear manner, often interrupted by flashbacks and backstories to fill in the blanks. While the plot really begins with Rick Tarr's discovery, we don't really get to meet him until halfway through the story; the rest is, thus, told in flashbacks. Such storytelling technique can be suspenseful, but I find it annoying instead. There really is no need to tell it in such a haphazard fashion, with so many flashbacks intercutting and stopping the momentum of the main plot.

The writers may think this technique makes the story a thinking men's thriller. But I find it obstructive and difficult, and often it dampens the emotional impact. Further complicated with a complex plot, the story becomes muddled and it takes extreme concentration to understand what is going on. And I did, but the payoff isn't worth it, in my opinion -- I already guessed who the mole was. Granted, I credit the writers for leaving enough clues to help us solve the mystery ourselves. And there are some scenes that are suspenseful and well done -- for example, when Peter tries to "burglarize" the Circus. And the scene, near the ending, with Prideaux, is practically epic and tragic.

Director Tomas Alfredson (Let the Right One In) has a very good eye. The production is handsome and period appropriate. The mood is excellent. The pacing, however, seems slow and disjointed at times. There are many fast cuts and montages that may simply go over our heads -- it'd take a few more viewings to understand the symbolism or hidden meanings. Like the screenplay, the intercutting of flashbacks and forward plot can be disorienting. Compounded with a huge cast of characters and plot twists, it becomes a lot of work for the audience.

That said, I do enjoy Tinker Tailor Soldier Spy. I think it's intelligent, and has enough thrills and suspense to satisfy fans of espionage thrillers, but also enough character development (and good acting to go with that) to satisfy fans of drama. We come to really care about these characters, and that is a plus. Still, with the difficult storytelling and complicated plot structure, I find it hard to digest. Perhaps I'd tinker with my opinion after a few more viewings.

Stars: Gary Oldman, John Hurt, Colin Firth, Toby Jones, Ciaran Hinds, Benedict Cumberbatch, Tom Hardy, Mark Strong
Director: Tomas Alfredson
Writers: Bridget O'Connor, Peter Straughan (based on novel by John le Carre)
Distributor: Sony Classics
MPAA Rating: R for violence, some nudity and sexuality, and language
Running Time: 127 minutes

Ratings:

Script - 6
Performance - 8
Direction - 7
Cinematography - 7
Music/Sound - 8
Editing - 7
Production - 8

Total - 7.2 out of 10.0

Carnage

2012-01-13T20:41:00.000-08:00

© 2012 Ray Wong

What a strange concept, to watch four characters bickering in an apartment for 80 minutes. But that's exactly what director Roman Polanski has made us do, and the four master actors pull it off beautifully.

Penelope Longstreet (Jodie Foster) and her hardware-store owner husband Michael (John C. Reilly) have a meeting with Nancy (Kate Winslet) and Alan Cowan (Christoph Waltz) at their apartment to discuss an incident that happened between their respective sons. Apparently the Cowans's son acted aggressively with a stick toward the Longstreets's.

At first civilized and cordial, the Cowans admit their son's wrongdoing and agree to pay for any medical bills. Despite the tension simmering below the surface, the Longstreets invite the Cowans to stay to have some apple-pear cobblers. Big mistake. What was once an amiable meeting between two sets of concerned parents slowly descends into chaos when their differences in parenting philosophies and practices turn sharply into personal attacks over politics, marriages, and personalities.

Jodie Foster (The Beaver) plays a tightly-wound, liberal, Africa-loving control-freak, and she does such a great job that we wonder if Foster is playing herself. Penelope's tense personality is evident from the very first scene, but you can tell that she has everything under control, much like the rest of her life. It's great to see Foster's character unravel around the seams until she completely falls apart. Meanwhile, her husband is played skillfully by the often spot-on John C. Reilly (Cedar Rapids). Reilly is excellent as the diplomatic putz, and he makes us wonder how did the two of them meet and stay together for so long.

Kate Winslet (The Reader) plays Nancy, a complete opposite of Penelope. She is a "fake" with no real aspiration or conviction. She cares more about her appearance, pleasing her husband and the well-being of a pet hamster than her son's behavior. She's pretty much in denial with everything. Meanwhile, her husband Alan is deliciously played by Christoph Waltz (Inglorious Basterds), a selfish prick of a lawyer who seems to actually enjoy the fact that his son is a maniac.

These four outstanding actors get to play off of each other and showcase their collective talent (and award-winning skills). It's not easy to pull of 80 minutes of dialogue without some serious talent, and the actors graciously pull it off. Even then, while Foster and Winslet are over the top and Reilly is quietly off-putting, the standout is Waltz. His characterization and performance are so well-tuned and precise it's really hard to imagine Alan Cowan any other way.

Adapted from her own play, Yasmina Reza (Art) has made certain changes to make the dialogue and action more accessible on the big screen. While the situations can seem a bit contrived (I could do without the whole subplot with the vomit), the most important thing here is the dialogue. Often what's being said does not match the action, and then there are times when what's being said reveals so much about the characters. The sharp dialogue is the soul of the whole piece, while the actors bring the heart to it.

That being said, somehow I wonder about the point of the whole story. Is it about how people are vicious animals underneath the facade of civilized behaviors? Is it about relationships and how people pretend and hide and bury feelings just to keep the peace, until a confrontational situation (with the aid of alcohol, perhaps) brings everything to the surface? I'm not sure. After watching the movie, I'm still not sure.

Polanski's (The Ghost Writer) direction is smooth and arresting. His use of camera angles, mirrors and lighting is interesting since the whole story happens in such a confined space. The pacing is good, and he lets the actor do their thing. He uses enough movements and camerawork and close-ups to distract us from realizing that we're basically watching a play.

While the movie is hugely amusing and fascinating, I'm neither touched or educated. It seems that the story is an exercise of intelligence and cleverness and, perhaps, a keen study of human relationships and behaviors. Still, at the end of the day, I am not affected in any way. I never felt the carnage.

Stars: Jodie Foster, Kate Winslet, Christoph Waltz, John C. Reilly
Director: Roman Polanski
Writers: Yasmina Reza, Romand Polanski (based on play by Reza)
Distributor: Sony Classics
MPAA Rating: R for language
Running Time: 79 minutes

Ratings:

Script - 8
Performance - 8
Direction - 7
Cinematography - 7
Music/Sound - 8
Editing - 7
Production - 7

Total - 7.5 out of 10.0

Extremely Loud and Incredibly Close

2012-01-06T21:59:00.000-08:00

© 2012 Ray Wong

More than 10 years later, films about 9/11 are still difficult sell. The emotional aspects of these stories tend to be either too casual or sentimental. Extremely Loud and Incredibly Close tells the story of coping with the tragedy and loss from the unique point of view of a young boy with Aspergers.

Oskar (Thomas Horn) is a precocious and smart boy who has been diagnosed with Aspergers Syndrome. He's not antisocial, per se, but he is particular in his social contacts and behaviors with people around him. He has a close relationship with his father Thomas (Tom Hanks), a jeweler whose idea of fun with his son is the search of answers of the universe. Thomas understands his son's needs so much that he will do anything to provoke Oskar's curiosity, to help him come out of his shell.

Everything changes on 9/11/2001. Oskar watches in horror as the "worst day" unfolds. Worst of all, he listens to messages on the answering machine left by his father, who is trapped on the top floor of the World Trade Center. As Oskar and his mother Linda (Sandra Bullock) deal with their loss of that fateful day, Oskar's relationship with her turns cold and distant as nothing makes sense to him, now that his father is gone.

A year later, Oskar discovers a key among his father's belongings and he sets out of find the lock for the key. He believes that it is a clue left by his father, so that he can still be close to Oskar. His quest becomes an obsession. Meanwhile, he makes an unlikely friend with his grandmother's renter (Max von Sydow), a lonesome mute man who has a dark secret past. Together they set out to search for an answer, and Oskar is in for a big surprise.

Tom Hanks (Larry Crowe) has an important but brief role as Oskar's father in flashbacks. Hanks' performance is amiable and affectionate, but perhaps a bit too earnest, almost an idealized version of what a perfect father should be. Sandra Bullock (The Blind Side), after a two-year hiatus, fares better as Hanks' grieving wife. Bullock does a good job conveying the pain and loneliness and distance as well as the love toward her sometimes-difficult son.

The star of the show is newcomer Thomas Horn, who carries the movie almost from beginning to end. That's no small feat for a young actor, not to mention in his first acting job ever. Horn does a respectable job, considering he has to act not just a normal kid, but one with Aspergers. At times, he fails to convince us, but given the challenging role, his performance is fine.

Zoe Caldwell (Birth) is excellent as Grandma. Her silent grief and pain are evident in her expression and mannerism. Talk about understated acting. Max von Sydow (Shutter Island) is amazing as the Renter, while he acted without a single line of dialogue. His scenes with Oskar are some of the best in the movie. Viola Davis (The Help) is in good form as a sad divorcee, and Jeffrey Wright (The Source Code) is wonderfully stoic as her estranged husband.

Adapted from Jonathan Safran Foer's novel, the screenplay by Eric Roth (The Curious Case of Benjamin Button) walks a fine line between poignant and pretentious. Roth has a penchant for introspective narration. The problem is, the first-person narration of a young boy with Apsergers can be annoying at times. The intercuts between flashbacks and present-time can be disorienting at times. Nonetheless, the plot unfolds interestingly, and we're always curious about where it's going, and whether Oskar will find what he's looking for. Intellectually, the story is spot on. Emotionally, it seems to somehow miss its mark. Often, the emotions seem forced and manipulated, and I feel like I am being coerced into feeling something that may or may not be there. Thus I find myself not often emotionally moved as expected.

Stephen Daldry's (The Reader) direction is masterful. His use of camera and imageries and sounds and colors is great. The production is handsome and realistic at the same time. Unfortunately, at 129 minutes, the film feels overtly long, and sometimes Daldry lingers, perhaps trying too hard to invoke certain emotions. The result is a feeling of pretentiousness.

Extremely Loud and Incredibly Close is an interesting story with an interesting protagonist and a journey that is worth telling. Unfortunately, the execution simply tries too hard and the result falls short. It's incredibly close, though.

Stars: Tom Hanks, Sandra Bullock, Thomas Horn, Zoe Caldwell, Max von Sydow, Viola Davis, Jeffrey Wright, John Goodman
Director: Stephen Daldry
Writers: Eric Roth (based on novel by Jonathan Safran Foer)
Distributor: Warner Bros.
MPAA Rating: PG-13 for emotional thematic material, disturbing images and language
Running Time: 129 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 8
Editing - 7
Production - 8

Total - 7.6 out of 10.0

The Iron Lady

2011-12-30T21:32:00.000-08:00

© 2011 Ray Wong

Former UK Prime Minister Margaret Thatcher was a controversial public figure. And in many ways, The Iron Lady may be a controversial film as we wonder how truthful it is with regard to Thatcher's private and public lives.

Margaret Thatcher (Meryl Streep), in her twilight years, reflects on her life as one of Britain's most famous women and a borderline senile private citizen. Thatcher often hallucinates about her late husband Denis (Jim Broadbent), who passed away years ago. Her daughter Carol (Olivia Colman) tries to take care of her, but Thatcher refuses. It seems that not only does she live as if her husband's still alive, but she's stuck in the past.

As an ambitious young woman (Alexandra Roach), Margaret Roberts' passion is in politics, even though it's traditionally a men's arena. This ambition and a singleminded drive eventually gets her into the parliament and one of the most active members of the conservative party. Denis Thatcher (Harry Lloyd) marries her despite her strong personality and ambition.

Eventually, Thatcher decides to run for Prime Minister even though she doesn't think she can win. Her advisors think otherwise. She changes her public image and succeeds in winning, thus starting her long, tumulus run as the PM. Meanwhile, her career is putting strain in her relationship with her family.

Meryl Streep (It's Complicated) can't seem to do wrong (well, except for a few stinkers here and there throughout her stellar career). Once again, she plays one of the world's most recognizable women, and this time, it's a total triumph. Not only does she physically resemble the Iron Lady, but she's succeeded in channeling Thatcher in spirit as well. She successfully portrays the strong outer-self of Thatcher, the inner vulnerability, and her love and devotion, despite her neglect, to her family.

Jim Broadbent (Harry Potter and the Deathly Hallows) is also fantastic as Denis Thatcher, her devoted husband who loves her even as she neglects him and their children. He is the rock, and Broadbent's performance and chemistry with Streep are the heart of the story. Olivia Colman (Hot Fuzz) is touching as Thatcher's daughter Carol. Alexandra Roach (Private Peaceful) plays young Margaret with vim and sensibility, while Harry Lloyd (Jane Eyre) is somewhat goofy as young Denis but matches the playful personality of Broadbent's portrayal.

Written by Abi Morgan (Brick Lane), the screenplay has a traditional structure that weaves the frame story (with old Thatcher) with episodic flashbacks of her life. In fact, the same structure is used in J. Edgar. While there's no way to compress Thatcher's life and achievements (and falls) in such a short time, Morgan is able to pick out some key events to emphasize Thatcher's personality, and professional as well as personal conflicts. Unfortunately, the episodic approach does strip away some of their impact, leaving us with a feeling of surface-scratching. It would have been more effective with the frame story is kept to the minimum while we explore her younger life more fully.

Meanwhile, the frame story of older Thatcher doesn't have much of a plot, and it feels somewhat repetitive as she hallucinates about her husband and then reminisce about her past. That said, the relationship between Thatcher and her husband is so strong that it allows great emotions, which lead to a poignant moment at the end when Thatcher must learn to let go.

Director Phyllida Lloyd (Macbeth) knows where the heart of the story and lingers, perhaps a bit too long, on that part. Yet she is able to weave the arc with flashbacks in an effective way, revealing Thatcher's career and ambition against her personal life and vulnerabilities. The production is handsome. The costumes are fine, and the makeup -- especially that of Streep -- is excellent.

The Iron Lady is a solid but flawed biopic. It has heart and real emotions, but somewhat disjointed in the storytelling and too heavy on the present instead of the past. It almost feels like a love story in disguise. Biopics are difficult to do well, and this movie is no exception. Still, it has enough emotions to melt even the iron hearts; it's not a bad thing.

Stars: Meryl Streep, Jim Broadbent, Olivia Colman, Alexandra Roach, Harry Lloyd
Director: Phyllida Lloyd
Writer: Abi Morgan
Distributor: Weinstein Co.
MPAA Rating: PG-13 for some violent images and brief nudity
Running Time: 105 minutes

Ratings:

Script - 7
Performance - 9
Direction - 7
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 8

Total - 7.5 out of 10.0

The Girl with the Dragon Tattoo

2011-12-23T19:58:00.000-08:00

© 2011 Ray Wong

Based on the bestselling series by Swedish novelist Stieg Larsson, The Girl with the Dragon Tattoo is also an English-language remake of the popular Swedish movies.

Mikael Blomkvist (Daniel Craig) is a journalist who has recently been disgraced in a libel case in which his unreliable source ruins his credibility, causes him his job, and wipes out his bank account. While down in the dumps, he's recruited by Henrik Vanger (Christopher Plummer), the patriarch of a rich, famous family-owned company, to write his memoir. In reality, Vanger wants Mikael to investigate a 40-year-old murder mystery: his beloved niece, Harriet, disappeared in 1966, and Henrik believes she was murdered by one of his family members.

While Mikael interviews the family and investigates the evidences collected throughout the years, he discovers bits and pieces of the family's dark secrets. For example, their ties to the Nazi party, or how some members such as Anita Vanger (Joely Richardson) have not been in touch with the family for decades. The head of the company, Martin Vanger (Stellan Skarsgard) indulges his uncle Henrik but he doesn't believe Mikael will find anything, for they have trie to solve Harriet's murder for over forty years.

Mikael decides to hire Lisabeth (Rooney Mara) to be his assistant because of her unparalleled skills in discovering details and knack for hacking computers. However, Lisabeth is an antisocial outcast who has had a hard life. They have to build mutual trust if they want to work together to solve the mystery, when their involvement increasingly puts them in danger.

Daniel Craig (Cowboys and Aliens) sheds his tough guy image to play a bookish, sensitive journalist in this adaptation. His performance is understated and impressive, conveying resourcefulness and courage as well as vulnerability and confusion. Rooney Mara (The Social Network) totally reinvents herself in the title role. Her fearless performance is transformational and outstanding. A rising star to watch.

The large supporting cast includes the incomparable Christopher Plummer (Beginners), who plays the gentle patriarch of the Vanger family with grace and style. Stellan Skarsgard (Thor) is also excellent as Martin Vanger. Joely Richardson (Anonymous) is appropriately gaunt and sullen as Henrik's estranged niece Anita. Robin Wright (Moneyball) is at ease playing Mikael's editor and lover.

Adapted from Larsson's novel by Steven Zaillian (Moneyball), the screenplay is split between two parallel narratives that eventually merge: Mikael's arc and Lisabeth's ordeal. While the structure and the amount of information and number of characters can be confusing at first, Zaillian is successful in keeping everything straight and streamlined, and the two narratives advance smoothly with a great pace. There's always conflict, and the plot moves along with good tension -- there's hardly a dull and boring moment. Part of the fun for the audience is to put the clues together with Mikael. But the screenplay also succeeds in giving us strong characters and their backgrounds that may have nothing to do with the plot but make the story more resonant.

Director Fincher (The Social Network) is no stranger to thrillers that deal with killers or violent crimes. This movie is up his alley, and he gives us a taut mystery and drama that doesn't shy away from harsh materials such as rape and torture. In fact, some scenes are so brutal that it can be difficult to watch, but I applaud him, the filmmakers and the actors for being true to the story and characters. The film also has a strong European look and feel, appropriately, even though it's an American production.

Not having seen the Swedish original or read the novel, I'm impressed with the storytelling and performances. It's one of the best thrillers in recent years.

Stars: Daniel Craig, Rooney Mara, Christopher Plummer, Stellan Skarsgard, Robin Wright, Joely Richardson, Goran Visnjic
Director: David Fincher
Writers: Steven Zaillian (based on novel by Stieg Larsson)
Distributor: Sonys
MPAA Rating: R for brutal violence including rape and torture, strong sexuality, graphic nudity and language
Running Time: 158 minutes

Ratings:

Script - 8
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 9

Total - 8.1 out of 10.0

Shame

2011-12-17T21:14:00.000-08:00

© 2011 Ray Wong

Let's get this out of the way first: yes, Shame earned its NC-17 rating fair and square, what with its explicit nudity and sexual content. But is there something more substantial than soft core porn?

Brandon (Michael Fassbender) is a handsome, charming and successful advertising executive at a prestigious New York firm. On the surface, he has everything: a fledging career, a boss (James Badge Dale) who adores him, a posh river-view bachelor pad, and a busy sex life. But underneath all that, there's a lonely man with a dark secret: Brandon is a sex addict. He's also emotionally closed up. He couldn't maintain any real connection with anyone.

He's coping just fine, thank you very much, until his free-spirited sister Sissy (Carey Mulligan) shows up to crash at his place. She is a lounge singer who has just broken up with her boyfriend and needs a place to stay. Reluctantly Brandon lets her. But soon, she is ruining his routines and life -- not to mention his privacy and desperation to keep his secret hidden.

Michael Fassbender (A Dangerous Method) has garnered much attention lately with his starring roles in movies such as X-Men: First Class and Jane Eyre. But his role as the sex addict in Shame is propelling him, rather quickly, into the stratosphere of stardom. As Brandon, Fassbender not only bares his body for the camera, he also bares his soul. His performance of the outwardly normal but internally deviant and tortured man is sublime, to say the least. It was no surprise that he took the Best Actor award at the Venice Film Festival and is now one of the frontrunners at the Oscars.

Carey Mulligan (Drive) also broke mold by playing an attention-seeking, out-of-control manipulator who just wants to be loved, instead of her usual innocent, naive young women. Her screen times are relatively brief but her role is pivotal and important, and she makes it her own. The supporting cast is all excellent including James Badge Dale (The Conspirator) as Brandon's jerk of a boss and Nicole Beharie (The Express) as the casualty of Brandon's romantic redemption.

Written by Abi Morgan (The Iron Lady) and director Steve McQueen (Hunger), the screenplay is surprisingly bare-bone. There's practically no plot, and I am not entirely sure what the character arc is. I would categorize this as an extreme character study. Sure, things are happening and connections are forged and broken, and characters are forced into situations and find themselves cornered. Yet as a story, it is relatively plotless. The situations are there for the characters, especially the protagonist, to reveal themselves behind their facades and pretense. Morgan and McQueen don't spend too much time explaining the characters' backgrounds and motivations. We're supposed to get to know them throughout the story.

Unfortunately, as amazing as the actors are, the characters simply aren't very likable or sympathetic. We may understand their turmoils and conflicts, but we don't necessarily identify or empathize with them. "Get some help. Seriously" is my initial thought. As a character study or cautionary tale, the story explores certain dark and deep themes: addiction, emotional unavailability, family, relationships… However, I feel that they have gone to the extremes and, in turn, alienated the audiences. Therefore, it fails to fully engage me.

McQueen's directing style is minimalistic, often with long tracking shot of characters staring at nothing. However, I do appreciate his artistic vision and use of camera movements, colors, patterns, and themes. He's good at setting the mood and letting the actors do their thing. Michael Fassbender certainly has made it work for him. While it's a story of a sex addict, the nudity and sex scenes could feel gratuitous at times. That's definitely an artistic choice, though.

Shame is a solemn character study with superb performances from its leads, and an artistically interesting "art film." It's just a shame that the characters are not so likable and the story lacks a certain quality to fully engage us.

Stars: Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie
Director: Steve McQueen
Writers: Abi Morgan, Steve McQueen
Distributor: Fox Searchlight
MPAA Rating: NC-17 for explicit sexual content
Running Time: 101 minutes

Ratings:

Script - 6
Performance - 8
Direction - 7
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 7

Total - 7.0 out of 10.0

The Artist

2011-12-09T21:49:00.000-08:00

© 2011 Ray Wong

What a strange concept: a silent movie about silent movies made in 2011. And you know what? The Artist is a beautiful concept that is beautifully executed.

George Valentin (Jean Dujardin) is the most famous movie star in the 1920s. He has everything: looks, charisma, a bigger-than-life career, a big house and a beautiful wife. Peppy (Berenice Bejo) is an aspiring actress who has a crush on Valentin. When they meet at the studio, romantic sparks fly except Valentin is a big star and he's married. They eventually go their separate ways.

Throughout the next few years, Peppy's star begins to rise, while silent films are replaced by talkies. Valentin refuses to bow to the "new gimmick" and the studio wants new faces. Valentin decides to spend all his money producing his new silent movie, but the studio is right. No one wants to see silent films anymore.

When the Great Depression hits, Valentin loses everything, including his wife. He struggles to make ends meet while Peppy becomes one of the biggest stars in Hollywood.Their paths meet again, but despite their feelings for each other, Valentin is too proud to admit his failure and let Peppy take care of him and his career.

French actor Jean Dujardin (Little White Lies) was hardly known in the US, until now. The Artist showcases Dujardin's handsome and expressive face, agile physicality, and great charisma. All without a single line of dialogue. It's quite a feat and Dujardin has done an impressive job playing both the larger-than-life silent film star and the introspective, private man.

Argentinian actress Berenice Bejo (Prey) is just as charming as Peppy. Her effervescence helps lift the movie and steal some spotlight from Dujardin. They have great chemistry together, which seems more impressive given they never "said" a word to each other -- or at least we never heard them speak.

American actors fill the supporting roles. John Goodman (Red State) plays the studio executive/director with a gleeful menace. James Cromwell (Secretariat) is earnest as Valentin's loyal chauffeur. Penelope Ann Miller (Flipped) is fittingly cold as Valentin's wife, and Missi Pyle (Taking Chances) has a small but flashy role as Valentin's costar.

Written and directed by Michel Hazanavicius (Mes amis), who is also Bejo's husband, the screenplay is both a melodrama and a delightful tribute to Hollywood's past. Hazanavicius captures the magic and mood of the 1920s and early 30s, as well as the Hollywood studio system. The plot is, to be honest, rather simple and predictable and melodramatic. And suitably so. By adopting such a plot, Hazanavicius succeeds in giving us something that fits perfectly the spirit of his chosen media: silent film. I mean, how else are you going to tell a story with only minimal dialogue? Movie loves will notice his tribute to silent films and old Hollywood, all done in great humor.

Hazanavicius's direction is light and breezy, with plenty of physical comedy and also melodrama. The production is handsome enough. But the most impressive part of the movie is the music. Given that's more or less the only thing we hear throughout the movie, the music evokes the feel of a silent film perfectly. Composer Ludovic Bource has done a fantastic job.

The Artist, on surface, seems silly and cliched. But once you buy into the conceit, the result is a delightful and playful tribute to Hollywood. It's also heartwarming and uplifting. Everything an artist would be proud of.

Stars: Jean Dujardin, Berenice Bejo, John Goodman, James Cromwell, Penelope Ann Miller, Missi Pyle
Director: Michel Hazanavicius
Writer: Michel Hazanavicius
Distributor: Weinstein Company
MPAA Rating: PG-13 for disturbing image and crude gesture
Running Time: 100 minutes

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 9
Editing - 7
Production - 8

Total - 8.0 out of 10.0

My Week with Marilyn

2011-12-02T04:56:00.000-08:00

© 2011 Ray Wong

Anything about Marilyn Monroe is bound to be fascinating since she was such a fascinating creature. But behind her fascinating public persona, there is no secret that she was a mess. My Week with Marilyn offers a candid behind-the-scene look at one of the brightest stars in history.

Colin Clark (Eddie Redmayne) is an ambitious young man (with British pedigree) determined to make it into the film business. Through personal network and perseverance, he begins his career working for Sir Laurence Olivier's production as a third assistant director. Lucky for him, his first movie was The Prince and the Showgirl starring Olivier (Kenneth Branagh) and Marilyn Monroe (Michelle Williams).

Colin starts to pursue a wardrobe girl, Lucy (Emma Watson) while trying to fit in at the production where everyone treats him like a naive kid. But when Marilyn shows up, Colin's world changes. At first, everyone is in awe with her, of course. But as they realize what a mess she is -- she's always late; she's insecure; she is emotionally unstable; she acts like a frightened child -- and the production is being delayed, their patience, especially Olivier's, is wearing thin.

Marilyn is on the verge of a nervous breakdown, especially after her husband Arthur Miller returns to America to see his kids. Colin's apparent lack of judgment of her impresses her, and she finds confidence in him. Meanwhile, Colin falls madly in love with the movie star. For one week, Marilyn and Colin become very close. With Colin, Marilyn is able to let her guard down and show her vulnerability without feeling scared of who she really is, and not the movie star everyone expects.

Michelle William (Blue Valentine) is a revelation here. She's always been a good actress, having earned a few Oscar nominations in her relatively young career. But playing Marilyn Monroe, one of the most iconic personalities in the world? It's possibly one of the most challenging endeavors on Earth. And Williams has done a fantastic job capturing not only Monroe's sexuality and beauty, but also her vulnerability and insecurity and loneliness and sadness. Williams's portrayal of the star is in itself a star-making turn. I predict an Oscar nod for her again.

And that's saying a lot when Williams is surrounding by so many wonderful veteran actors playing famous actors and personalities. Julia Ormond (The Curious Case of Benjamin Button) is regal and sad as Vivien Leigh. Kenneth Branagh (Pirate Radio) is perfect as Sir Olivier Laurence. And Judi Dench (J. Edgar) is marvelously kind and stately as Dame Sybil Thorndike.

The young actors are not that bad either. Eddie Redmayne (Black Death) first impressed us in Savage Grace, and as Colin Clark, he is ernest, lovestruck, sweet, and naive all at once. Redmayne may not be the handsomest leading man, but he has the ability to make you root for him and care. Emma Watson (Harry Potter) has a harder time breaking away from her famous role as Hermione Gringer. She is fine in her small role as Lucy, but she'd need a much better and different role if she wants us to forget her as Hermione. Dominic Cooper (Captain America) and Dougray Scott (A Thousand Kisses Deep) do well as Milton Greene and Arthur Miller respectively.

Adapted from Colin Clark's own diaries, the screenplay by TV writer Adrian Hodges (Primeval) is spotty. The beginning slogs along as he sets up the story, but it tries a little too hard to portray Colin as a fearless young man. There are many side characters that rather muddle the plot, which is progresses rather fast and furiously but really only picks up with production of The Prince and the Showgirl begins and when Marilyn Monroe arrives.

But once it does, the story takes a fascinating turn. Monroe herself is fascinating enough. But what's going on around her is equally fascinating, especially if you're into film history and filmmaking. The tension between the Monroe and Olivier is palpable. The tension between Colin and all the other men who admire and love Marilyn is palpable. The sexual tension between Colin and Marilyn is palpable. And Colin's own confusion and vulnerability are palpable. The story, at this point, is so full of conflicts and human emotions that we just can't wait to see what happens next.

Director Simon Curtis (Cranford), mostly known for his TV work, has given us a handsome production with great location shots. The film has a distinctive British feel, and it should, even though it's about some of Hollywood's most famous stars. While the beginning rushes a bit with too many peripheral bits (the plot would have been stronger if it had begun when Colin's already working as a 3rd), the core of the story as well as the relationship between Colin and Marilyn holds our interest. A large part is due to Monroe's personality and Michelle Williams's fascinating portrayal. But the director has given them a space to indulge in that piece of history.

The result is quite satisfying. Williams's performance manages to eclipse the veterans' (all excellent), and the film is well made. My 99 minutes with Marilyn is well worth it.

Stars: Michelle Williams, Eddie Redmayne, Julia Ormond, Kenneth Branagh, Emma Watson, Judi Dench, Dominic Cooper, Dougray Scott
Director: Simon Curtis
Writers: Adrian Hodges (based on book by Colin Clark)
Distributor: Weinstein Company
MPAA Rating: R for language, partial nudity, sexuality and drug use
Running Time: 99 minutes

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.8 out of 10.0

Hugo

2011-11-25T21:04:00.000-08:00

© 2011 Ray Wong

If you're not familiar with Brian Selznick's Hugo, you'd have thought it's a fantasy set in 1930s Paris judging from Martin Scorsese's fantastical production. It is, in fact, a historical drama.

After his father (Jude Law) died in a fire, Hugo Cabret (Asa Butterfield) lives and works with his uncle (Ray Winstone) at the clock tower at the train station in Paris. He is trying to stay under the radar of the station inspector (Sacha Baron Cohen), for fear of being taken away as an orphan. The boy tries desperately to fix an automaton which could write, because he believes it would send him a message from his father. However, while trying to steal parts from a toyshop owner Papa Georges (Ben Kingsley), Hugo gets caught and his notebook is confiscated. Later, Papa Georges tells him that he's burned the book.

But Georges's goddaughter Isabelle (Chloe Grace Moretz) tells Hugo that Papa Georges didn't burn the book. In fact, he's very sad for some reason. Hugo and Isabelle become fast friends. When she tries to help him find the notebook, they discovers Papa Georges is hiding a secret -- he has a box full of fantastical drawings. In solving the mystery, Hugo and Isabelle find out that the automaton is linked to Papa Georges.

Asa Butterfield (Nanny McPhee Returns) has the tremendous responsibility as the titular character. He more and less have to carry the film on his shoulders (with the help of veteran actors, of course). He does a good job. While he may not be as skilled and talented as an actor like some of his contemporaries, his performance is good enough to make us care about Hugo. Chloe Grace Moretz (Let Me In) is also good, but she plays it safe here, and we miss her edgier roles.

The veterans help lift the performances to a high level. Ben Kingsley (Prince of Persia: The Sands of Time) is particular great as Georges. His range is amazing and reminds us why he is one of the best actors of our time. Sacha Baron Cohen (Bruno) is all right as the station inspector, but his performance is rather a caricature. Emily Mortimer (Shutter Island), Christopher Lee (Alice in Wonderland), Ray Winstone (Lost in Italy) and Jude Law (Sherlock Holmes) all have small but affecting parts. Helen McCrory (Harry Potter and the Deathly Hallows) is extraordinarily charming and graceful as Mama Jeanne.

Adapted from Selznick's award-winning novel, the screenplay by John Logan (Rango) follows the original story rather faithfully. The story and plot, however, have the trappings of a children's story -- it's rather simplistic at times. The multiple subplots and threads seem irrelevant sometimes, even though the characters are endearing. The main thrust of the story is basically a mystery, but it feels more like an extended character study. There's nothing wrong with it, and we like the characters just fine.

However, at times the plot does seem to drag, and the pace a bit slow. The story explores certain serious themes such as loss, desperation, and generosity. But for many of its target young audience, these themes may be lost on them.

What is fantastic is the production. Director Martin Scorsese (Shutter Island) gives us a beautiful world, rendered mostly with CGI, set in a romantic time period. The art direction is amazing, and the production sometimes too gorgeous to behold. Scorsese also makes the best use of the 3D technology, and this is a film you must see in 3D. His use of camera angles, sets, perspectives, field of depth, etc. accentuates the effects of 3D. It's truly a feast for the eye.

While it is technically and artistically superior, and with good performances, I can't help but feel somewhat let down by the movie. Perhaps I was expecting something a bit more fantastical or other-worldly. Instead, we get a rather simple story with a simple mystery.

Stars: Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloe Grace Moretz, Ray Winstone, Emily Mortimer, Christopher Lee, Helen McCrory, Jude Law
Director: Martin Scorsese
Writers: John Logan (based on Brian Selznick's novel)
Distributor: Universal
MPAA Rating: PG for mild thematic material, peril and smoking
Running Time: 127 minutes

Ratings:

Script - 7
Performance - 8
Direction - 9
Cinematography - 9
Music/Sound - 8
Editing - 8
Production - 10

Total - 8.0 out of 10.0

The Descendants

2011-11-18T21:18:00.000-08:00

© 2011 Ray Wong

Movies about death and family can easily sink into the tearjerker territory. Writer-director Alexander Payne, who gave us his Oscar-winning Sideways, manages to tug at our heartstrings while staying just above that line.

Matt King (George Clooney) is an attorney working and living in Hawaii, with a beautiful wife (Patricia Hastie) and two young daughters. Sounds like a perfect life. Except he is a workaholic who has long neglected his wife, who recently had a serious boating accident that put her in a coma. An absentee father, Matt has no idea how to connect with his daughters, Alexandra (Shailene Woodley) and Scottie (Amara Miller).

On top of his family crisis, Matt is under pressure by his cousins to sell a large piece of property that could make them all very, very, very rich. Matt is the single surviving trustee and has the sole power to make the decision. It's almost a done deal, except the sale would have changed the face of Hawaii and made a lot of natives angry.

And as if that's not enough to drive Matt insane, he finds out that his wife was cheating on him before the accident, and she was considering a divorce. Stricken with guilt and anger and a sense of impotence, he decides to track down his wife's lover.

George Clooney (The Ides of March) has never been better. He lets down his guard and toss away his suaveness to play a bumbling, befuddled middle-aged man who has lost touch of his own life and family. Clooney's performance is self-effacing, nuanced, and heartfelt. He makes us feel his character's anger and sorrow and everything in between without being melodramatic. In fact, his character's cool exterior can be deceiving. Clooney manages to give Matt King a full internal life despite the fact that he's a distant husband and father.

Shailene Woodley (Moola) gets her big screen break here as Clooney's eldest daughter, a potty-mouthed, rebellious teenager who can't connect with either of his parents. Woodley does a fine job giving the character range (from callousness to deep, conflicting emotions). But the standout is newcomer Amara Miller, who plays Scottie with such innocence and vulnerability that you just want to hug her. She's particularly heartbreaking in a scene where she learns of the truth about her mother. If you don't shed a tear watching her, you have no heart.

The rest of the cast include Nick Krause (ExTerminators) as a surfer who is smarter than he looks. He does a great job. Patricia Hastie (Princess Kailulani) spends most of the film in a bed playing the comatose wife. Beau Bridges (Max Payne) plays it loose as Cousin Hugh. Matthew Lillard (Scooby Doo) is an interesting choice for the lover. And Judy Greer (Love and Other Drugs) is affecting as Lillard's wife.

Written by Alexander Payne (Sideways), Nat Faxon (Adopted) and Jim Rash (Adopted) and based on by Kaui Hart Hemmings's novel, the screenplay is rather barebone. The story unfolds rather quickly with a lot of voice-over. It feels a bit too much exposition, but I suppose it has to be done that way to get the information out without bogging down the plot. Once the plot actually starts, though, it follows a loose structure that weaves various plot threads together. At times it feels rather contrived, with just a tad too many coincidences to suspend our disbelief. The motivations behind the characters' actions are also not always clear or convincing.

The strength of the screenplay is the dialogue. And the strength of the film itself is the performances. And director Payne does a great job letting his actors do their thing. Clooney, in particular, shines as the leading man. Payne explores the grieving process without beating us over the head with grand emotions. Don't get me wrong, the emotions are there and at times they are overwhelming. But Payne doesn't dwell on them, or make a big spectacle out of these emotional scenes. In fact, most of the scenes are understated and achieve certain emotional poignancy that takes a lot of restraint on the director's part.

The Descendants is a flawed little film that explores many big emotions. It's about choices. It's about family. It's about betrayal and agony. It's about forgiveness and unconditional love. There are many big themes. Perhaps that's why it can be so overwhelming for a such a small film.

Stars: George Clooney, Shailene Woodley, Amara Miller, Nick Krause, Patricia Hastie, Beau Bridges, Matthew Lillard, Judy Greer
Director: Alexander Payne
Writer: Alexander Payne, Nat Faxon, Jim Rash (novel by Kaui Hart Hemmings)
Distributor: Fox Searchlight
MPAA Rating: R for language and sexual references
Running Time: 115 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 8
Editing - 7
Production - 7

Total - 7.5 out of 10.0

J. Edgar

2011-11-11T11:11:00.000-08:00

© 2011 Ray Wong

FBI's most famous director, whose personal life was just as mysterious and intriguing as his professional, has often been subjects for the silver screen and pop culture. Clint Eastwood takes an interesting biographical approach to tell the story about the "most powerful man in the world."

Why is J. Edgar Hoover (Leonardo DiCaprio) the "most powerful man in the world"? He will tell you: because he knows everyone's secret. Even as a youth, Edgar is driven and focused and meticulous. He has sharp observational and analytical skills, and a talent to see through people. While fighting Communists, whom he considers the true evil that could bring down America, he quickly rises up the rank and becomes Director of the FBI before he is 30 years old.

Edgar's strict and iron-fisted approach to reshape and reorganize the FBI earns him both admiration and revilement. A complicated man, Edgar relishes the spotlight while he is sensitive to criticism, and when he's hurt, he lashes out. One of his ways of getting even and protecting himself is by digging up dirt on others, including the seven presidents he has served under. While outwardly a staunch moralist, Edgar is a man of contradiction and double standards. He exaggerates his own merits while belittling others for their shortcomings.

Behind closed door, however, Edgar's personal life is full of secrets that could easily ruin his reputation and end his career. He is a mama's boy, for example -- his devotion to his mother (Judi Dench) borders on codependency. I mean, he lives with his mother until he's way into middle-age. Strange for a man with so much power. He once pursued unsuccessful Helen Gandy (Naomi Watts), who later becomes his most trusted assistant. Most important, he hires Clyde Tolson as his "right hand man" (Arnie Hammer) even though he doesn't qualify for the job. The relationship between Edgar and Clyde suggests something more than professional.

Leonardo DiCapro (Inception) has played real people many times. He plays Hoover from his teenage years to his death at 77. For over 50 years, Hoover has held on to his post even under the harshest scrutiny. DiCaprio is able to portray the complicated man even though his effort is inconsistent. Surprisingly, he is most successful when playing Hoover at his old age, under layers of prosthetics and makeup. It's then that DiCapro disappears into his character. As a younger Hoover, he seems self-conscious at times.

It's mostly a one-man show, but the supporting cast is good as well. Naomi Watts (You Will Meet a Tall Dark Stranger) is marvelous as Helen Gandy. She plays Hoover's trusted assistant and confidant with grace and heart. Judi Dench (My Week with Marilyn) also shines as Edgar's doting mother. Through her strong performance, we understand her character's influence on our protagonist. Arnie Hammer (The Social Network) is the weak link here. As young Clyde Tolson, he is handsome and charming, and we can see why Edgar is smitten with him. However, Hammer falters when he plays Tolson as an old man.

The screenplay by Dustin Lance Black (Milk) is almost episodic, alternating between past and present as the older Edgar contemplating his life while dictating his biography. The structure is rather disjointed and confusing, with multiple flashbacks but no time specified. So the audience has to deduce the plot and time line via dialogue or context. It's just too much work. The real problem with the story, however, is the lack of a real arc. It covers too much ground, and too much time, without a clear character arc. Mostly it's a "who is who" and "how things came to be" type of narrative. While it's interesting, the story lacks the dramatic oomph or a strong stake. We understand who drives J. Edgar -- his pride, his work, his personal desire and insecurity -- but none of that comes through with an urgency. Mostly, the screenplay feels flat. It's a shame since Black gave us the phenomenal, Oscar-winning screenplay of Milk.

Director Clint Eastwood (Hereafter) seems to have lost his touch as well. While the production is handsome and the period details are admirable, the pacing is off. The movie feels lethargic. I mean, this is a story of a man with great power, flair, and importance. A man who has served seven American presidents and carried on a secret homosexual affair for over 50 years. Yet his life story feels so lukewarm and flat. Much of the sentiments also feel forced. Perhaps I can't really blame Eastwood -- the flaws mostly lie in the writing. Still, I think Eastwood has made some mistakes and couldn't lift the movie from the material.

As a biopic about one of the most famous men in history, the movie falls flat, and it's not due to subpar performances or technical merits (the makeup and costumes are fantastic and should garner some Oscar nominations). J. Edgar himself would have hated it.

Stars: Leonardo DiCaprio, Naomi Watts, Judi Dench, Arnie Hammer
Director: Clint Eastwood
Writer: Dustin Lance Black
Distributor: Warner Bros.
MPAA Rating: R for brief strong language
Running Time: 137s minutes

Ratings:

Script - 6
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 7
Editing - 7
Production - 8

Total - 7.5 out of 10.0

Anonymous

2011-11-03T11:58:00.000-07:00

© 2011 Ray Wong

There have long been skepticism and theories on the authenticity of Shakespeare's body of work: What if Shakespeare never wrote a single word? Roland Emmerich's new film, Anonymous, takes that question and runs with it.

After Edward De Vere (Rhys Ifans) sees a play penned by Ben Jonson (Sebastian Armesto), he decides to procure Jonson's service. It turns out Edward is a prolific and talented writer, but due to his status as Earl of Oxford, he can't let anyone know that part of him. In exchange for Jonson's vow of silence, Edward promises him a steady stream of money and fame.

At the end of the first production, however, things get out of hand. The play is an enormous hit, and the crowd demands to meet the writer. Jonson hesitates, and Edward is distraught. An actor, William Shakespeare, decides to claim the credit. The truth is, Shakespeare is illiterate, but Jonson and Edward continues the charade -- for Jonson, he gets to keep the money and stay out of potential political trouble (as the plays can be political risqué), and Edward lives to see his plays produced and admired.

Yet good things don't last for long. The plays stir the interest of Queen Elizabeth (Vanessa Redgrave), to the dismay of her advisor William Cecil (David Thewlis) and his son Robert (Edward Hogg). The Cecils want James of Scotland to succeed the Queen, but she wants the Earl of Essex (Sam Reid), who is a good friend of Edward and the Earl of Southampton (Xavier Samuel). The rivalry causes the Cecils to scheme against Essex.

I've always liked Rhys Ifans (Harry Potter and the Deathly Hallows), particularly when he plays peculiar characters. He plays it straight here, however, as Earl of Oxford, and it's a marvelous job. He is handsome, debonaire, refined, and intellectual - exactly what we'd expect from the person who gave us masterpieces such as Romeo & Juliet or King Lear. As Queen Elizabeth I, Vanessa Redgrave (Letters to Juliet) is magnificent in portraying the character's confusion, anguish and internal turmoil. Both are great tragic characters played by great performers.

As their younger counterparts, Jamie Campbell Bower (Harry Potter and the Deathly Hallows) and Joely Richardson (The Last Mimzy) are dashing and spirited with great chemistry together. Sebatian Armesto (Bright Star) seems a bit slight and contemporary to play Ben Jonson, but Rafe Spall (One Day) gives us a William Shakespeare we love to hate. While Armesto is somewhat too modest and passive, Spall is brash and obnoxious.

The rest of the cast is excellent. David Thewlis (Harry Potter and the Deathly Hallows) is superbly sinister and secretive as William Cecil, while Edward Hogg (Alfie) is creepy and broody as Robert Cecil. Xavier Samuel (Eclipse) and Sam Reid (All Saints) play Earl of Southampton and Earl of Essex, respectively, as two frat boys -- they are somewhat too contemporary for my taste.

The screenplay by John Orloff (A Mighty Heart) follows a nonlinear storytelling structure with multiple flashbacks, sometimes flashback within flashback. Not to mention the unnecessary bookends. The structure can be confusing at times. Also, the plot threads don't necessarily connect until later. The main plot, of course, is the true identity of the writer behind the works of William Shakespeare, but we get more than we bargain for. We also get a political drama based on the Essex Rebellion, and a series of conspiracies.

The problem is, the plot and subplots become cumbersome after a while. I have some problem keeping track of all the relationships and secrets and who is doing what to whom. In truth, the main plot of "who is William Shakespeare?" takes a backseat to the conspiracy and political scheming. Certainly that is more thrilling (who doesn't like dirty politics and mayhem?) but it starts to lose the charm and intrigue. It also takes the focus away from the brilliance of and reactions to Edward's work.

Also, by wrapping the story around historical events such as the Essex Rebellion, we come to expect the outcome, and the intrigue becomes one of alternate reality and theory, instead of true mystery. Besides, once we know how it's going to end, there is no positive payoff. Tragedies are fine, but there still needs to be certain payoff to make the experience worthwhile: Romeo and Juliet's deaths result in the resolve of their families' feud, for example. The ending of Anonymous, in comparison, is all too depressing.

Roland Emmerich's (2012) direction is effective and powerful, however. Emmerich's departure from sci-fi or fantasy is also interesting, and surprisingly he has a good eye for the period. The production is lush and gorgeous, and he uses the special effects to create certain epic and poetic feel. Over all, he's succeeded in giving us something fantastic to behold.

If only the storytelling was more concise and less convoluted and bloated, the film could have been a delight. It is not utter crap, of course, but it's far from being first class. -- reviewed by Anonymous

Stars: Rhys Ifans, Vanessa Redgrave, Sebastian Armesto, Rafe Spall, David Thewlis, Edward Hogg, Xavier Samuel, Sam Reid, Jamie Campbell Bower, Joely Richardson
Director: Roland Emmerich
Writer: John Orloff
Distributor: Sony Pictures
MPAA Rating: PG-13 for violence and sexual content
Running Time: 130 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 9

Total - 7.8 out of 10.0

In Time

2011-10-28T09:05:00.000-07:00

© 2011 Ray Wong

Set in an undefined future, In Time is a pseudo sci-fi thriller that is full of interesting concepts. Unfortunately, like many other high-concept movies, it's bogged down by an awful execution.

Will Salas (Justin Timberlake) has lived in the ghetto (known as Zone 12) all his life. In this world, humans have been genetically engineered so that they'd stop aging at age 25. At the same time, to control population, they also only have one year to live beyond that. To live longer, they have to earn "time" on their hands, literally. Time becomes the new currency. When you run out, you die.

And Will has been living from day to day, scraping by with his mother (Olivia Wilde). After saving an out-of-town stranger Henry Hamilton (Matt Borner) from local thugs, Will receives a gift -- it turns out, at over 100 years old, Henry is tired of living, so he gives Will all of his 105 years before committing suicide. His only request is that Will doesn't waste that time.

Will could have used that time for personal gains (he does, in a way), but he has a bigger plan in mind. Knowing how unfair the system is -- how people die for no reasons while others have more time than they can do with it -- he is determined to bring it down. His first stop is Zone 4, where the richest people, live. Meanwhile, he is wanted for Henry's death, and Timekeeper Raymond Leon (Cillian Murphy) is hot on his trail.

As an actor, Justin Timberlake (Friends with Benefits) has some talent. He's particularly good in light comedies such as Friends with Benefits or grungy tales such as Alpha Dog. As an action hero, however, he's too slight and lacks the required gravitas compared to his contemporaries such as Will Smith or Sam Worthington. He is not bad, per se. He just seems out of place.

Amanda Seyfied (Red Riding Hood) seems miscast here. Her sweet and cute persona may have worked for the character in early scenes, but once she made her jump, she is much less convincing. It doesn't help that she's running around in a cocktail dress. Cillian Murphy (Inception) has a more complex role and he does a good job playing the cop. Unfortunately, his character is such an archetype (think Javert in Les Miserables or Samuel Gerard in The Fugitive) to let him really shine.

The other players don't have much to do except to propel the plot. Olivia Wilde (Cowboys and Aliens) is underused, and her scenes lack the emotional weight because her character and relationship with Will are too underdeveloped. Similarly, Johnny Galecki (Hancock) is the typical best friend character that makes us say, "Who cares?" In a brief role, Matt Borner (Flightplan) manages to give us some depth as mysterious Henry Hamilton and make us believe he's over 100 years old.

The film is written and directed by Andrew Niccol (Lord of War), who has given us great stories such as Gattaca and The Truman Show. In the same veins of those movies, In Time is more of a fable or cautionary tale than hard sci-fi. Niccol doesn't even try to explain the science -- we're supposed to accept it and suspense our disbelief on face value. The time and place are also vague. That's all fine until the plot falls apart at the seams. Don't get me wrong. Niccol has a great concept: "Time is money" literally. And he tries to use the fable to reflect on the state of our society. That's some heavy allegory. Unfortunately, Niccol tries too hard.

The plot is a mishmash of different genres. There is, of course, a huge Fugitive-esque subplot. Then there are pieces of Robin Hood, Bonnie and Clyde, Time Cop, The Minority Report, to name a few. That's alright if Noccol had given us a fresh take and taken the story to a new height. Instead, the plot meanders. The dialogue is recycled. And the characters are not engaging or interesting, and they lack enough emotional depths to make us care. It seems to me that Niccol is more interested in exploring every piece of his high concept than giving us truly engaging story and characters. The chemistry between Timberlake and Seyfied also feels forced.

The movie has a gritty look, which is good for the ghetto scenes. However, the entire production has a cheap feel to it, as if Niccol didn't have money to spend. The Los Angeles locations get tiresome very quickly, and make us think we're stuck in a game of Auto Theft: LA. Being an Andrew Niccol fan, I'm sorely disappointed. Perhaps in time I'll forget this ever exists.

Stars: Justin Timberlake, Amanda Seyfied, Cillian Murphy, Olivia Wilde, Johnny Galecki, Matt Borner
Director: Andrew Niccol
Writer: Andrew Niccol
Distributor: 20th Century Fox
MPAA Rating: PG-13 for violence, sexuality, partial nudity, language
Running Time: 109 minutes

Ratings:

Script - 6
Performance - 6
Direction - 6
Cinematography - 7
Music/Sound - 7
Editing - 6
Production - 6

Total - 6.1 out of 10.0

Johnny English Reborn

2011-10-21T17:38:00.000-07:00

© 2011 Ray Wong

It's been eight years since the last Johnny English movie, and Rowen Atkinson tries his best to revive the character and his antics, but the result may not be something he expects.

After Johnny English (Rowen Atkinson) was dismissed by the MI7 because of a botched operation, he's been in hiding, taking lessons from the Tibetan monks. But soon he finds himself reinstated, being personally requested for a mission. There is a plan by a secret group to assassinate the Chinese Prime Minister, and English is to find out the identity of the group and to stop the assassination.

English goes to Hong Kong with rookie Agent Tucker (Daniel Kaluuya). Their contact Fisher (Richard Schiff) reveals that he's part of a trio of professional assassins called the Vortex, and they each carries a special key. When Fisher is killed, English attempts to retrieve the key but loses it at the end. While investigating further on the Vortex, English realizes that one of them is a mole within MI7. As time is running out, English must find the mole and stop the assassination attempt. Most important, he must clear his name.

Rowen Atkinson (Mr. Bean's Vacation) is best known for being Mr. Bean, with Johnny English his second most recognizable role. Even though the two characters are different, there's significant similarities and Atkinson tends to play them the same way. Obviously, English speaks and seems smarter than Mr. Bean (but not much), and he's an MI7 agent! Atkinson is treading old water here, so there isn't much to be excited about.

The cast consists of some recognizable names, however. Gillian Anderson (X Files: I Want to Believe) is droll and serious playing MI7 director Pamela. Rosamund Pike (Surrogates) is lovely and interesting as Kate, English's love interest. Dominic West (Centurion) is dashing and mysterious as Agent Ambrose. Richard Schiff (Solitary Man) has a very small part that doesn't really take advantage of his talent. The standout is Daniel Kaluuya (Chatroom), who channels Chris Tucker in Rush Hours but makes the role his own. Honorable mention goes to Pik Sen Lim (Plenty) whose recurring role as a cleaning-lady assassin is hilarious.

The screenplay by William Davies (How to Train Your Dragon) and Hamish McColl (Mr. Bean's Vacation) is surprisingly sophomoric considering Davies's resume. True, this is Johnny English, and we come to expect certain crude, infantile humor. Still, much of the humor doesn't work, and is too infantile to even mention. I also know what they're going with English's character, but sometimes he is simply too clueless and stupid that he makes me cringe. How the heck did he get to be a secret agent? Certain situations are so ridiculous that it fails to be funny because you just can't believe someone can be so stupid. A few running gags overstay their welcome by the time the movie ends.

The story and the plot are not that bad. There actually is a coherent plot, albeit flimsy -- much of it is to get English from one place to another and see how he screws up. However, the sendup to the Bond films is spot on and I appreciate the parody.

Director Oliver Parker (An Ideal Husband) gives us a nicely paced production, but the production quality seems subpar. There's a cheap look to the movie. Then suddenly there's an over-produced sequence that looks expensive to make. The quality is uneven to say the least.

I like Atkinson and I like Johnny English, but I can't help but feel disappointed by this. There are a few genuine laughs, but most of it has been done before or simply isn't funny. I have a feeling Johnny English won't be reborn again for a very long time.

Stars: Rowen Atkinson, Gillian Anderson, Rosamund Pike, Dominic West, Daniel Kaluuya, Richard Schiff
Director: Oliver Parker
Writers: William Davies, Hamish McColl
Distributor: Universal
MPAA Rating: PG for mild action violence, rude humor, language and brief sensuality
Running Time: 101 minutes

Ratings:

Script - 5
Performance - 6
Direction - 6
Cinematography - 7
Music/Sound - 7
Editing - 6
Production - 7

Total - 6.2 out of 10.0

The Thing

2011-10-14T16:11:00.000-07:00

© 2011 Ray Wong

The 1982 The Thing has a cult following and is considered one of the greatest horror/monster movies of all times. This 2011 version of The Thing is both a prequel and a homage to the John Carpenter film.

Kate Lloyd (Mary Elizabeth Winstead), a paleontologist at Columbia University, has been hired by scientist Dr. Sander Halvorson (Ulrich Thomsen) to go to Antarctica to examine a specimen. When they arrive, they realize it's an alien creature that landed in a spaceship over 100,000 years ago. They succeed in retrieving the alien frozen in ice. However, unbeknownst to them, it is still alive and later escapes.

The team, including American pilot Braxton Carter (Joel Edgerton) and research assistant Adam (Eric Christian Olsen), begins to search for the alien. In an attack, one team member is killed and they destroy the alien by burning it. While examining the remains, Kate discovers that the alien imitates its prey at the cellular level. What's more frightening is that the creature is still alive, and thus can be anyone of them.

Mary Elizabeth Winstead (Scott Pilgrim vs. the World) is in fine form as the female lead in this male-dominated horror. Her performance (and her character) is smart but vulnerable, yet she's not a damsel in distress. She can certainly handle herself and save the day. Winstead has a strong presence and dominates in her scenes. Joel Edgerton (Warrior) is the Kurt Russell of this movie: charming, strong, and resourceful. He and Winstead have good chemistry and a palpable sexual tension between them.

Danish actor Ulrich Thomsen (Duplicity) has the thankless role of the arrogant boss who makes the wrong decisions and puts everyone in danger's way. He serves his purpose, but the character is simply too predictable to make any impact. Eric Christian Olsen (The Backup Plan) has a better time with his amiable would-be love interest for Kate, plus he has one of the best scenes of the movie. Trond Espen Seim (The Frost) leads a fine cast of Norwegian actors in this production, including Jorgen Langhelle (Betrayal), who plays Lars (the character also appeared in the 1982 movie) with great intensity.

The screenplay, written by Eric Heisserer (Final Destination 5), takes great pain in recreating and expanding on the 1982 movie. It's not just a prequel and homage, but a companion film. What impresses me is that Heisserer manages to match the details of the John Carpenter film and devise a plot that explains these details logically. Best of all, we don't have to watch that film to understand this one, but by watching both films together (which I did upon returning home from the theater), we get a sense of completion and understanding.

But time has changed. While the John Carpenter movie unfolds slowly, this has a much faster pace. The plot takes off immediately and keeps going. Because of the inherent limitations (since most people have problem seen the original), Heisserer doesn't waste too much time building the suspense or trying to over-explain what the alien can do or how to kill it -- we've seen it already in the 1982 film. Also, the tone is different. The original was all about paranoia and desperation. This is more about the horror and confusion of first contact, while the characters figure out what is going on and trying to survive.

Sure, there are cheesy dialogue, predictable moments and plot holes (what horror film, especially a prequel or sequel, can avert that fate?), but the screenplay is surprisingly coherent and taut. Suspenseful even though we already know so much about the alien and what may happen. The thrill is more in what exactly happened, instead of what will happen.

Director Matthijs van Heijningen Jr. (Zien) is a surprising choice because of his short resume. However, I think he's succeeded in creating a new movie that matches so well the original without losing its own identity. The tone is intact. The production is generally good, matching the original movie to create a coherent continuation. While the direction lacks John Carpenter's finesse, patience, and cinematic effects to induce suspense and awe, it does the job nicely. The upgraded CGI, together with physical effects, serve the film rather well.

While this prequel lacks the suspense, tension and dread (and pure horror) of the original, it is solid entertainment and holds up very well against the classic. As a companion film, it's a thing to behold.

Stars: Mary Elizabeth Winstead, Joel Edgerton, Ulrich Thomsen, Eric Christian Olsen, Jorgen Langhelle, Trond Espen Seim
Director: Matthijs van Heijningen Jr.
Writers: Eric Heisserer (based on short story by John W. Campbell, Jr.)
Distributor: Universal
MPAA Rating: R for strong creature violence and gore
Running Time: 103 minutes

Ratings:

Script - 8
Performance - 7
Direction - 8
Cinematography - 8
Music/Sound - 7
Editing - 7
Production - 7

Total - 7.5 out of 10.0

The Ides of March

2011-10-07T14:41:00.000-07:00

© 2011 Ray Wong

Political drama has a certain appeal because politics in itself is fascinating, and what goes on behind closed door is not something to which we're privy. The Ides of March is more than just a political drama, though. It also chronicles the downfall of an ambitious but idealistic young man.

At 30, Stephen Myers (Ryan Gosling) is the youngest junior campaign manager in a presidential race. The Democratic governor, Mike Morris (George Clooney), is neck in neck in the polls with his opponent in the final days of the Ohio primary. Stephen's boss, senior campaign manager Paul Zara (Philip Seymour Hoffman), is in a closed-door negotiation with Ohio Senator Thompson (Jeffrey Wright) in hopes of getting the latter's endorsement. If Morris gets the endorsement, he'd most certainly get the nomination.

Stephen is ambitious but also idealistic. He has been in the business for several years, and he's never been more sure about a candidate. He believes in all the goodness Morris possesses and represents. However, as the race in Ohio heats up and backdoor deals are being made, Stephen's faith begins to unravel. Stephen makes a mistake by speaking in private to his opponent's campaign manager Tom Duffy (Paul Giamatti). While he turns down Duffy's offer to switch side, the damage has been done. Somehow the secret meeting is leaked to reporter Ida (Marisa Tomei), who threatens to print the story (which would possibly get Stephen fired) unless he gives her the inside scoop on the Thompson deal.

At the same time, Stephen discovers the governor has had a one-time sexual liaison with a young intern, Molly (Evan Rachel Wood), who happens to be the daughter of DNC Chairman Jack Stearns (Gregory Itzin). Loyal to Morris, Stephen tries to cover up the indiscretion for him. However, soon he is fired by Paul, with the blessing of Morris, and he feels betrayed. He swears to get even. An unexpected turn of event gives Stephen just the ammunition to fire back.

Ryan Gosling (Drive) has been lauded as an actor's actor of his generation -- he has proven his ability in smaller, independent movies. Now, it looks like he's ready for big things and superstardom, given his latest big, flashy roles in Crazy, Stupid, Love and Drive. As the protagonist, Gosling is charming, introspective and intense. His performance is very measured and reserved, much like the character itself, and he portrays well a man jolted to the dark reality of politics.

George Clooney (The American) has a supporting role as Morris, the charismatic "good-guy" candidate that is perfect for him. Clooney's performance is solid and reserved, and he knows when to step into the limelight vs. in the background to let Gosling shine. Philip Seymour Hoffman (Moneyball) is excellent as Morris's senior campaign manager. He is gruff and tough, and manages to portray a man who has been in the business for way too long -- a great reflection for Stephen. Paul Giamatti (Win Win) is great as Stephen's slime-ball opponent. He has only a few pivotal scenes, but he steals every one of them from the superb Gosling.

As beautiful intern Molly, Evan Rachel Wood (The Conspirator) is a great match for Gosling. Her character gives the movie a needed emotional core, and she gives an impressive performance as the spirited but naive young woman. Marisa Tomei (Crazy, Stupid, Love) is perfect as the ruthless reporter, and Jeffrey Wright (Source Code) oozes sliminess as Senator Thompson.

The screenplay is written by George Clooney (Good Night, and Good Luck), who also directs, Grant Heslov (Good Night, and Good Luck), and Beau Willimon, based on the latter's play Farragut North. Given Willimon's involvement, one can assume the screenplay adheres to the original material. It is more of a fable or cautionary tale than a true, realistic politic drama. It reminds me Star Wars, how we follow Anakin Skywalker's descent. Stephen Myers is a contemporary Darth Vader. The main characters are relatively well drawn and developed.

The screenplay is taut and fast-paced. It can be a bit intimidating and confusing as the political chess players are introduced and the game unfolds. The dialogue is generally sharp and intelligent. The plot is well thought-out and structured, but at times it feels contrived or forced. Certain plot twists seem too well orchestrated and woven, as if the players knew exactly what would happen next: It's a writer's fantasy and doesn't really translate that well in a drama. It feels more plot-driven than it should be.

Clooney's direction has matured. This is a world-class production, and he's done a great job. Everything works well together, and technically the film is superb. There is not a dull moment and Clooney keeps the plot flowing well.

The Ides of March is a thought-provoking, handsomely made fable. I like the way these players play each other with intricate moves and hidden motives. I like how the hero slowly gets sucked into the corrupt underbelly of politics. Yet it's not a perfect movie, and it leaves you feeling manipulated afterwards. It's not necessarily a good feeling, much like politics itself.

Stars: Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, Marisa Tomei, Jeffrey Wright
Director: George Clooney
Writers: George Clooney, Grant Heslov, Beau Willimon (based on play Farragut North by Beau Willimon)
Distributor: Columbia
MPAA Rating: R for language and some sexuality
Running Time: 101 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 8

Total - 7.5 out of 10.0

50/50

2011-09-30T12:16:00.000-07:00

© 2011 Ray Wong

Movies about diseases are difficult to pull off -- they are either too sappy, too serious, or too casual. 50/50 attempts to tackle the subject from a comedic point of view, and the result is mixed.

Adam (Joseph Gordon-Levitt) is a young profession living in Seattle who seems to have it all together. He has a good job, a best friend (Seth Rogen), and a beautiful girlfriend (Bryce Dallas Howard). His world crumbles when he finds out he has a rare form of cancer. His survival instinct kicks as he closes up and puts up a wall around him. Even his new therapist, Katherine (Anna Kendrick), can't get through to him.

Just when he feels like he can manage it, he discovers his girlfriend has been cheating on him, and he realizes his best friend is using him to hook up with women. He shies away from his smothering mother. Adam becomes so isolated that his only connection is with Katherine, who shows genuine concern and care for him despite his wild mood swings and grim outlooks.

Joseph Gordon-Levitt (Inception) has proven himself a new type of leading man: not particularly tall, dark and handsome, but charismatic and down to earth. As Adam, he shows a good range of emotions and character depth. Adam is cautious, guarded, and a bit of an idealist, and Gordon-Levitt plays the role with heart and a keen understanding of what the character must be going through.

Seth Rogen (Green Hornet) is playing a role that is written specifically for him. The happy-go-lucky, loud-mouthed stoner of a best friend. There's not much depth to the character, although you know he truly cares. He just has a different way of showing his affection and coping with personal tragedies. The obnoxious character isn't easy to love, but through his loyalty to Adam, and Rogen's energetic performance, we come to accept him as a good soul.

Anna Kendrick (Up In the Air) is sweet and kind as Katherine, the rookie therapist who falls for her patient. She and Gordon-Levitt have a cute chemistry together, but her character is somewhat too introverted to make a big splash. Bryce Dallas Howard (The Help) has a showier role as Adam's girlfriend. It seems like Howard has carved out a niche for herself, playing conniving bitches. It's great to Anjelica Huston (When in Rome) in action, and she plays Adam's overbearing mother with grace. Many of us have mothers like her.

Writer Will Reiser uses his own story as the basis for this comedy. Like Adam, Reiser was diagnosed with cancer at a young age and had to go through the whole ordeal. However, Reiser chooses to tell the story as a comedy. It's an aggressive undertaking, to tackle a serious subject such as cancer with laughter, without being offensive and crass. To some extent, he's succeeded. His brand of humor and comedy resembles the raunch of Judd Apatow, most often delivered by Seth Rogen's character. The dialogue is light and the situations amusing.

However, soon the plot dives into the territory of contrivance and melodrama. And the tone takes a sharp turn into the dreary as Adam becomes sick and depressed. Where is the comedy? Where are the laughs? It doesn't help when Kyle -- the source of most of the humor in the movie -- retreats into the background as Adam stumbles and struggles through his ordeal. The story becomes too heavy. It also focuses too much on Adam's struggles that it forgets to develop the other characters. What about Adam's mother? What about Katherine? What about Kyle, who seems to just clown around and hook up with as many chicks as he can.

Director Jonathan Levine (The Wackness) seems a bit lightweight to direct this comedy-drama. Don't get me wrong. There's nothing truly defective in this production or his direction. Just that it is rather "TV movie of the month." The first act is rather good, when the comedy is front and center. Once the story delves through the gravity of coping with cancer, the pacing seems to drag, and the execution borders on cliches.

The idea behind 50/50 is a noble one, and the concept is promising. But the execution lacks certain quality to pull it off. Like I said, movies about diseases are very difficult to do. This proves my point… success rate is less than 50/50.

Stars: Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick, Bryce Dallas Howard, Anjelica Huston, Serge Houde, Andrew Airlie, Mitch Frewer, Philip Baker Hall
Director: Jonathan Levine
Writer: Will Reiser
Distributor: Summit
MPAA Rating: R for language, sexual content and drug use
Running Time: 99 minutes

Ratings:

Script - 7
Performance - 7
Direction - 7
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 7

Total - 7.0 out of 10.0

Moneyball

2011-09-23T12:57:00.000-07:00

© 2011 Ray Wong

As far as sports movies are concerned, Moneyball is surprisingly serious, thoughtful and intelligent.

Oakland A's general manager Billy Beane (Brad Pitt) has a tough season ahead: his budget has been slashed, and he has to replace three star players. With the lowest salary constraint, Billy must find a different way to build a team that will keep the club alive, if not to win the World Series. His revelation comes in the form of a Yale graduate named Peter Brand (Jonah Hill).

Using his sharp analytic skills and a computer-generated model, Peter advices Billy to forget about all the traditional factors but focus only on the numbers. Billy is impressed with Peter's approach and hires him as his assistant. They have a hard time selling their system, however. Especially coach Art Howe (Philip Seymour Hoffman), who believes Billy is out of his mind and trying to run the club, and his own career, to the ground.

Brad Pitt (The Tree of Life) is charismatic and down to earth as Billy Beane, a former Major League top pick who flamed out without reaching his potential and fulfilling the expectations. The character is smart (he did, after all, get accepted by Stanford) and thoughtful, but carries plenty of baggage with him. Pitt is able to convey the complexity and his portrayal is careful and earnest.

Jonah Hill (Get Him to the Greek) surprises in a role so unlike his previous. No, he doesn't get to play a handsome romantic lead, but as egghead Peter Brand, he actually shows some range. His performance is measured and convincing as the reserved, shy and intelligent young man. Philip Seymour Hoffman (The Ides of March) is solid as the A's head coach. His resistance to change and resentment leap off the screen, but you know his reasons and you get to sympathize.

Robin Wright (The Conspirator) is good as Billy's supportive and understanding ex-wife, offering a nice counterpoint to the male-heavy drama. Chris Pratt (Jennifer's Body) is excellent in his role as Scott Hatteberg, a seriously undervalued baseball player who desperately needs a confidence boost. Stephen Bishop (The Town) also impresses as a "has-been" who wants to prove that he's still got it.

Written by Stephen Zaillian (All the King's Men) and Aaron Sorkin (The Social Network), the script is gritty and serious, reminding me of yet another great sports film also adapted from a top nonfiction book, Friday Night Lights. There are enough baseball terms and concepts that would delight the fans and confuse the non-fans, but the writers keep the story relatively simple and comprehensible. You don't need a degree in baseball to know what is going on. What is most affecting is the characters' struggle to prove themselves and survive, if not to win. That's something universal; we can all relate.

The plot unfolds slowly and organically, with enough twists to keep us on edge. Yet the story doesn't subscribe to the tiresome trademarks of a crowd-pleasing "triumph." There are no mood-lifting anthems or trite morale-boosting speeches. Instead, it's filled with smaller, intimate human moments that keep the story real and relatable.

Bennett Miller's (Capote) direction also helps to keep everything real. His no-frill direction focuses on the characters and the experiences, instead of being rousing and glorified. What has transpired is a solid film about obstacles, perseverance and doing what is right vs. what is expected.

With good writing, solid performances and a realistic execution, the movie is right on the money.

Stars: Brat Pitt, Jonah Hill, Philip Seymour Hoffman, Robin Wright, Chris Pratt, Stephen Bishop, Brett Jennings
Director: Bennett Miller
Writers: Stephen Zaillian, Aaron Sorkin, Stan Chervin (based on book by Michael Lewis)
Distributor: Columbia
MPAA Rating: PG-13 for some strong language
Running Time: 133 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 7
Music/Sound - 8
Editing - 8
Production - 8

Total - 7.8 out of 10.0

I Don't Know How She Does It

2011-09-16T11:53:00.000-07:00

© 2011 Ray Wong

Kate (Sarah Jessica Parker) is a happily married woman with two children. As a financial analyst, she needs to travel a lot for her job. Somehow she manages to juggle her domestic duties with her job. Her world starts to unravel when she finally gets her big break: her proposal is picked by her demanding boss (Kelsey Grammar). She's sent to New York to work with financier Jack Abelhammer (Pierce Brosnan), who happens to be a very handsome bachelor.

Kate is smitten and seduced by the fast track to success and exciting life in New York, but her heart remains with her husband Richard (Greg Kinnear) and children. However, with her new hectic schedules, she can't keep up anymore. She spends less and less time with the kids and the burden now rests on Richard, who just got a promotion, too. The couple struggles to stay together and keep the family together, but it becomes more and more impossible for them to have it all.

Sarah Jessica Parker (Sex and the City) seems to be stuck playing two types of characters: her Carrie Bradshaw alter-ego or a serious, dull dramatic role. Here, she's in her Carrie mode, altered slightly as a mother of two. While her character is ernest, her perky portrayal of Kate's awkwardness is unsettling at times; it's like watching a 45-year-old woman acting 25. Christina Hendricks (Drive) is fun and perky as Kate's best friend, but her role is trivial and obligatory. Olivia Munn (Iron Man 2) has a better role as Kate's assistant Momo, and she makes the best of it.

The men are basically window dressing in this chick flick. Greg Kinnear (Thin Ice) tries his best to play the loving, supportive and understanding husband. The problem is the character seems neutered. Even during some of the tenser and angry moments, he barely raises his voice. Pierce Brosnan (The Ghost Writer) can play the suave, handsome, sophisticated gentleman in his sleep. No surprise here. Kelsey Grammer (Fame) has a few brief scenes but not much to do. And Seth Meyers (Nick and Nora's Infinite Playlist) plays the requisite slime ball with no real significance.

Based on Alison Pearson's novel and written by Aline Brosh McKenna (The Devil Wears Prada), the screenplay takes a flawed approach: it uses way too much voice-over narration and interviews for characterization and moving the plot forward. The result is a clumsy device and makes us wonder if there's enough plot and character to sustain this story (there really isn't). I like the premise, and there are nuggets of wisdom about working mothers, women, and the inequality between the sexes.

But as a story, it just doesn't engage me. The dialogue is amusing enough, but the situations are mundane and dull, and the supporting characters have nothing to do. As a comedy, it doesn't make me laugh. In fact, the contrivance makes me cringe. The plot is predictable with almost no surprises or twists at all, and the conclusion is trite and contrived.

Douglas McGrath's (Infamous) direction is light and brisk enough, which is rather a nice fit for such a light comedy. The production is fine. There really isn't anything wrong, just not a whole lot to commend. It doesn't drag, but it also doesn't lift the film from its material.

There are chick flicks that I enjoyed, but this one panders so much to a specific demographic that it leaves me with a slightly icky feeling. I don't know how to get rid of that feeling.

Stars: Sarah Jessica Parker, Pierce Brosnan, Greg Kinnear, Christina Hendricks, Kelsey Grammer, Seth Meyers, Olivia Munn, Jane Curtin
Director: Douglas McGrath
Writers: Aline Brosh McKenna (based on Alison Pearson's novel)
Distributor: Weinstein Co.
MPAA Rating: PG-13 for sexual references and some language
Running Time: 95 minutes

Ratings:

Script - 6
Performance - 6
Direction - 7
Cinematography - 7
Music/Sound - 6
Editing - 7
Production - 7

Total - 6.5 out of 10.0

Contagion

2011-09-09T10:07:00.000-07:00

© 2011 Ray Wong

In some markets, Contagion is being shown as a horror film, and I can see why. It's probably one of the scariest movies I've seen because it's so realistic: it could really happen to us!

When Beth Emhoff (Gwyneth Paltrow) returns from a business trip in Hong Kong, she gets gravely ill with flu-like symptoms. She's dead within a few days, and when her husband Mitch (Matt Damon) returns from the hospital, he discovers that his stepson has died as well. Mitch discovers that he's immune, but he can't take a chance with his daughter as she may not have inherited his immunity.

Meanwhile, multiple people have also died in Hong Kong, Tokyo and Chicago from a new, highly contagious virus. The outbreak quickly draws the attention of the CDC. Dr. Cheever (Laurence Fishburne) sends specialist Dr. Mears (Kate Winslet) to investigate. Meanwhile, Dr. Orantes (Marion Cotillard) connects the dot and suspects that Beth Emhoff is, in fact, Patient Zero and must have contracted the virus at a casino in Macao. Cheever and his staff are trying to find the cause and a way to come up with a vaccine as quickly as they can, as the outbreak continues to wipe out large populations at a frightening speed. He's also under pressure from Homeland Security to keep the information from the general public to prevent a global panic and meltdown.

Meanwhile, freelance journalist Alan Krumweide (Jude Law) is skeptical about the government's involvement. He makes a name for himself when he cures himself online using an already-available drug. The news causes massive looting and pits Alan in direct conflict with the CDC and Homeland Security. Little do they know Alan is profiting from his new fame and visibility. As millions of people continue to die every day and societies crumble, Cheever and the world are racing against time to find a real cure.

The star-studded cast includes Gwyneth Paltrow (Iron Man 2) in a brief but pivotal role as Patient Zero. Her journey to death is disturbing and frightening, signaling what is yet to come. Matt Damon (Hereafter) is solid as her grieving husband, who has to deal with his wife's infidelity and the deaths of her and his stepson, as well as the well-being of his teenage daughter (from a previous marriage). Laurence Fishburne (Predators) has a sizable role as Dr. Cheever, and he handles it with grace and sincerity.

Jude Law (Sherlock Holmes) is effectively slimy and unethical as the rogue journalist, even though you know he speaks the truth (sometimes). Marion Cotillard (Midnight in Paris) is lovely but she doesn't have much to do in the movie. The most sympathetic character belongs to Kate Winslet (The Reader) as Dr. Mears: a kind, compassionate, devoted scientist who succumbs to tragedy because she cares so much.

The screenplay by Scott Z. Burns (The Informant!) takes on a lot with a huge cast of characters. It reminds me of yet another Soderbergh's movie, Traffic. Fortunately, the story here follows a logical plot that unfolds organically, with the characters being in the middle of it. Burns focuses on their parts in the story but doesn't shy away from making it personal for the characters as well. It is not an easy task to develop these characters and make us care about them given the number of characters and how their lives intertwine with one another's (or not).

At times, though, the plot seems contrived and loses focus. There are some threads that can easily be cut without sacrificing the clarity of the story and the flow of the plot. Dialogue seems tight but a bit superficial at times, and there are minor characters that are as flat as cardboard. Over all, however, Burns keeps the focus on just a handful of characters and how they help move the story along. At the end, it feels like we've just watched a few short stories that are linked together by a core thread, and the resulting storytelling is quite effective and dramatic.

Director Steven Soderbergh (The Informant!) is no stranger to thrillers involving multiple characters and a complicated plot structure (think Ocean's 11 or Traffic). His direction is swift and precise, masterful in its pacing and tension building. The editing is exceptionally effective as it intercuts between the multiple characters' story lines while keeping the core story intact. Soderbergh also slows things down to reveal characters and makes us care, and that's very important in a story like this. Otherwise, we'd just be bored while watching the body count goes up.

Contagion is a slick, fast-paced thriller that doesn't forget the human stories. One gripe, though: even though it was shot all over the world with an international cast, the story is predictably US-centric (and it takes an American team to save the day, of course). It could be even more frightening if we were shown the devastation in third-world countries, for example. Still, the filmmakers have given us a realistic portrayal of a global outbreak of a deadly virus. It's frightening and disturbing, because this could really happen. While it's highly entertaining (have popcorns ready), the fear can be contagious.

Stars: Gwyneth Paltrow, Matt Damon, Laurence Fishburne, Jude Law, Marion Cotillard, Kate Winslet
Director: Steven Soderbergh
Writer: Scott Z. Burns
Distributor: Warner Bros.
MPAA Rating: PG-13 for disturbing content and some language
Running Time: 105 minutes

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 8

Total - 7.8 out of 10.0

The Debt

2011-09-02T12:00:00.000-07:00

© 2011 Ray Wong

Set in 1997 and 1966, The Debt is a rare kind of suspense that is both an espionage thriller and a human drama about the three protagonists.

On the eve of the release of a biography detailing her life as a celebrated Mossad agent in the 60s, Rachel Singer (Helen Mirren) receives the devastating news from her ex-husband Stephan (Tom Wilkinson) that their mutual friend David (Ciarán Hinds) has committed suicide. She also discovers David has left a significant piece of information concerning their mission in 1966 that made them, especially Rachel, national heroes. More important, it urges Rachel to reveal a secret they all have been keeping for 30 years.

Back in 1966, Rachel (Jessica Chastain), David (Sam Worthington) and Stephan (Marton Csokas) are a team of agents about to carry out a secret mission in East Berlin. They've tracked down a Nazi criminal, Dexter Vogel (Jesper Christensen), and plan to abduct him and bring him back to Israel to stand trial. Stephan is an ambitious, aggressive ass, while David is quiet, mysterious and introspective. They have been working together for two years, and their new partner Rachel instantaneously alters the dynamics.

Together they carry out the well-thought out plan. However, due to unforeseeable circumstances and mixed-up emotions, the mission fails and they are forced keep Vogel their prisoner until they find another way. Vogel is able to manipulate Rachel and David enough to create for himself an opportunity to escape.What happens next would go on to haunt Rachel, David and Stephan for years to come.

The three veteran actors are excellent in their respective roles. Helen Mirren (Arthur) does a fine job as the older Rachel as she contemplates the past, the future and the right thing to do. Her nuanced performance is thoughtful and emotional. Tom Wilkinson (The Green Hornet) is solid as Stephan -- he shows enough ruthlessness and ambition behind his concerns and regrets to match his younger counterpart. Ciarán Hinds (The Rite) only has a few scenes but conveys David's turmoil and yearning for Rachel effectively.

The young actors who portray the same characters have meatier roles as their story, told in flashbacks, is the centerpiece. Sam Worthington (Avatar) excels in playing solitary but sensitive David, and his chemistry with his costars lifts the film to a higher plane. Marton Csokas (Alice in Wonderland) exudes great charisma and sensuality as ruthless, ambitious and seductive Stephan. But the true star of the film is Jessica Chastain (The Help), who dazzled as Celia Foote in The Help and then turns 180˚ to play frightened but resourceful and determined Rachel. Her star has risen immensely.

Written by Matthew Vaughn (Kick-Ass), Jane Goldman (Kick-Ass) and Peter Straughan (The Men Who Stare at Goats), the screenplay is based on the 2007 Israeli thriller Ha-Hov. It is taut, suspenseful and intriguing, effectively using the frame story to weave the flashbacks to tell one cohesive story. While the "secret" isn't difficult to guess, how the characters got there is intriguing enough to propel the plot from 1966 to 1997, where the characters must face the ghost of their past.

The plot unfolds gradually, leaving us with pieces of information and lots of characterization. The story really takes off when we meet the characters again in East Berlin, 1966. The suspense and tension are palpable. Most impressively, the characters come to life and their relationships are front and center. At the core of this thriller is a tragic love story, but the screenwriters skillfully keeps everything under control. The movie falters somewhat when it returns to 1997 for the retribution. The third act isn't bad by itself, but the pacing and tension pale in light of what happened before.

John Madden's (Shakespeare in Love) direction is masterful, keeping us at the edges of our seats at all times. The editing serves the narrative structure superbly. The camerawork helps create the tension. And the production is solid. It's top-notch all the way.

Despite its relatively flat third act, The Debt is an outstanding character-driven thriller that should please fans of suspense and lovers of the human conditions.

Stars: Helen Mirren, Tom Wilkinson, Ciarán Hinds, Jessica Chastain, Marton Csokas, Sam Worthington, Jesper Christensen
Director: John Madden
Writer: Matthew Vaughn, Jane Goldman, Peter Straughan (based on the film Ha-Hov)
Distributor: Focus
MPAA Rating: R for violence and language
Running Time: 114 minutes

Ratings:

Script - 8
Performance - 9
Direction - 8
Cinematography - 8
Music/Sound - 7
Editing - 8
Production - 8

Total - 8.0 out of 10.0

Our Idiot Brother

2011-08-26T13:06:00.000-07:00

© 2011 Ray Wong

Here's a summer comedy that is tailored for Paul Rudd (well, sort of) to capitalize on his boyish good looks and affable charm. So naturally, he plays an "idiot."

Ned (Paul Rudd) is a happy-go-lucky guy who enjoys his guilty pleasure: marijuana. His major flaw? He trusts people too easily; he's gullible. After Ned was entrapped and imprisoned for "dealing," he loses his girlfriend, job and home, and needs a place to stay. Naturally he turns to his family, which includes sisters Miranda (Elizabeth Banks), Natalie (Zooey Deschanel) and Liz (Emily Mortimer).

Soon Ned is entangled in his sisters' tangled lives. Liz is an unhappy housewife married to a selfish jerk (Steve Coogan). Natalie isn't sure about her sexuality even though she's in a loving lesbian relationship with lawyer Cindy (Rashida Jones). And Miranda is a demanding, ambitious journalist who has no time for romance. While they all love Ned, they all have their own problems and can't really handle their idiotic brother, who has a problem of speaking what he thinks, uncensored.

Ned's child-like demeanors and simple world view soon unravel his sisters' worlds. Ned's penchant for the truth is at odds with his sisters' deceptions: Liz is in denial about her marriage; Liz is compromising her integrity just to get ahead at work; and Natalie cheated on Cindy. Even though they hate Ned for "ruining" their lives, eventually they realize it's all for the best and they begin to learn something from their idiotic brother.

Paul Rudd (How Do You Know?) has made a name for himself for playing the dorky but cute boy next door. In Our Idiot Brother, Rudd plays the title role and turns up his affability to full throttle. As perpetual stoner and man-child Ned, Rudd is extraordinarily charming and sympathetic, even though sometimes you really do want to slap him silly and say, "Grow up already!" That's a good thing.

The trio of sisters have very distinctive personalities and they're well portrayed by three capable actresses. Elizabeth Banks (The Next Three Days) plays a similar character as her Emmy-nominated Avery in 30 Rock, but she does it so well. Zooey Deschanel ((500) Days of Summer) also plays a role that is similar to Summer (albeit a bisexual) and does a good job. The more complex role belongs to Emily Mortimer (Shutter Island), however. Her vulnerability and anger come through in a character who is deep in denial and low self-esteem.

Rashida Jones (The Social Network) is excellent as Natalie's bossy but kind girlfriend. Steve Coogan (The Trip) sinks his teeth in the role of an ultimate douche-bag. Adam Scott (Piranha), as Miranda's neighbor, adds a bit of sex appeal to the production.

Written by David Schisgall, Evgenia Peretz and directed by Peretz's brother Jesse (The Ex), Our Idiot Brother has a loose, character-driven plot that is centered on Rudd's character, surrounding by his sisters and their extended family. The plot is not really linear, but it does progress, with a central question: Is Ned really an idiot? The obvious answer is "yes," as the audience and Ned's own family can attest. But soon we find that everything is relative. While everyone around Ned seems to have it all together, they are far less happy and fulfilled, and they don't connect to others the way their idiot brother does. Fortunately, Peretz doesn't beat us in the head with that message. Instead, she lets the story and the character brings that across.

Granted, the characters and story can be frustrating at times. I mean, seriously, Ned is in his 30s and can he just get a grip? Is his brain really so baked that he can't tell what can harm him? Even an 8-year-old child seems to know better. In that regard, the character is rather frustrating to watch, even if we wish him the best. There are other inconsistency (for example, if Ned has a big mouth, then why would Natalie tell him her secret and then expect him to keep it from Cindy?), plot holes and contrivance.

The direction has an independent feel to it, which is actually an asset. The film is laid back and fun, much like the central character, and the story moves along well enough. Even with a large cast of supporting characters, we're never confused and the focus always rests on Ned: his influence on others and their reactions to him.

Our Idiot Brother is a nice, funny, small film with some stars in it. Could it be better? Definitely (it could, perhaps, use more obscure actors instead of all-to-familiar faces). But it's an entertaining, character-driven family comedy and there's nothing idiotic about that.

Stars: Paul Rudd, Elizabeth Banks, Zooey Deschanel, Rashida Jones, Emily Mortimer, Steve Coogan, Adam Scott
Director: Jesse Peretz
Writers: David Schisgall, Evgenia Peretz
Distributor: Weinstein Company
MPAA Rating: R for sexual content including nudity, and for language throughout
Running Time: 90 minutes

Ratings:

Script – 7
Performance – 8
Direction – 7
Cinematography – 7
Music/Sound– 7
Editing – 7
Production – 7

Total – 7.2 out of 10

Griff the Invisible

2011-08-19T13:20:00.000-07:00

© 2011 Ray Wong

Superhero movies are a dime a dozen these days. What the filmmakers try to do with Griff the Invisible, however, is offer something different.

Griff (Ryan Kwanten) is a client relation representative by day. He is shy, withdrawn, and keeps to himself mostly in the office. He also gets picked on and bullied by coworkers, especially Tony (Toby Schmitz). Little do these people know, however, that Griff is a superhero by night. He takes order from "central office" and monitors local crimes. He's a true crime fighter.

But being a superhero has its price, and soon it becomes impossible for Griff to stay low-key without literally becoming invisible. So he tries to build an invisible suit. Meanwhile, he meets the girl Melody (Maeve Dermody) who his brother Tim (Patrick Brammall) is kind of dating. Soon, though, Melody becomes fascinated with Griff, for she, too, is not "normal."

It happens that Melody lives in her own world, too, and she is a scientist always trying to figure out the impossible. For example, she believes that if all the molecules align just the right way, a person can go through a solid object such as a wall or a door. When she realizes who Griff really is and what he's trying to do, she wants to help him make the invisible suit. And an unlikely romance develops between these two outcasts.

Ryan Kwanten (True Blood) gives an earnest performance very unlike his character in True Blood, for which the Australian actor is best known. As Griff, he is withdrawn, quiet, introverted, sensitive, but devious at the same time. Kwanten does a nice job disappearing in the character without relying on his usual sex appeal.

Maeve Derody (Black Water) is wonderfully odd as Melody. She plays the character with a slight awkwardness that doesn't make her a "crazy" character but you realize she is different anyway. She and Kwanten play off each other very well.

The supporting cast does an adequate job. Marshall Napier (The Water Horse) is solid as Griff's sympathetic boss and father figure. Toby Schmitz (Three Blind Mice) is fine as the office bully, if only a bit stereotypical and cliché. Patrick Brammall (Hawke) is affecting as Griff's adoring, protective older brother.

Writer-Director Leon Ford (Katoomba) takes an interesting approach telling this "superhero" tale. Before long, you realize something is off and not quite what it seems. Ford leaves little clues here and then, and then reveals Griff's secret quite bluntly, and the story takes on an odd and interesting twist. The audience is left to wonder where it is going and what will happen to these interesting characters.

That said, the screenplay and direction suffer from certain literary pitfalls that usually plagues new or independent filmmakers. The plot unfolds rather slowly and the structure is somewhat contrived -- clever for cleverness's sake, at times. The dialogue is rather dull at times, lacking the wittiness that could lift the by-and-large quiet story. What Ford succeeded, though, is creating intersecting characters with real motives and history, who make us care about them even after we know what really is going on with them.

I totally enjoyed the movie despite its flaws. It offers an interesting and off-the-wall take on the genre. At the core, it's a very human story about two people who, against all odds, connect with each other. It's also about unconditional love, which is refreshing without overt preaching. This independent film may be small and quiet, but it won't be invisible if you give it a chance.

Stars: Ryan Kwanten, Maeve Dermody, Marshall Napier, Toby Schmitz, Patrick Brammall, Anthony Phelan
Director: Leon Ford
Writer: Leon Ford
Distributor: Indomina
MPAA Rating: PG-13 for language, violence and themes
Running Time: 90 minutes

Ratings:

Script - 7
Performance - 7
Direction - 6
Cinematography - 7
Music/Sound - 6
Editing - 6
Production - 7

Total - 7.0 out of 10.0

The Help

2011-08-12T11:21:00.000-07:00

© 2011 Ray Wong

Once in a while there comes a "chick flick" that reaches past its limited audience base because it delivers something that is truly universal. The Help, based on Kathryn Stockett's bestselling novel, is not your ordinary "women's story."

Eugenia "Skeeter" (Emma Stone) recently graduated from college and landed a job with the Jackson Journal writing an housekeeping advice column. She needs help, so she asks if domestic help Aibileen (Viola Davis) can assist her. While listening and observing Aibileen, Skeeter realizes there are stories behind these American-American women whose only jobs are working as "the help" and taking care of white folks' babies. She wants to write a book from their perspective.

However, writing such a thing is not only dangerous for the women, but also illegal in Mississippi. Even though often mistreated, Aibileen is scared for her job and safety. But the social injustice finally convinces her that her stories must be heard, and she agrees to work with Skeeter. She also convinces her best friend Minny (Octavia Spencer), the "sassy-mouth" help for Hilly Holbrook (Bryce Dallas Howard), to participate.

Hilly is a mean-spirited social climber. And a racist. Her influences in her circle creates even more hostile and unfair treatments for the help. Skeeter is determined to expose all that injustice while keeping herself out of trouble. While America is on the verge of the civil rights movement, Skeeter and Aibileen have the utmost responsibility and urgency to get their stories out.

Emma Stone (Crazy, Stupid, Love) has always been fun to watch, truly the rising star with a unique onscreen personality. Here, however, she is able to keep her larger-than-life persona in check and play the role effectively. Her Skeeter is strong-willed but vulnerable, progressive but also a product of her environment, kind but also defiant. Good job.

But the real star of the movie is Viola Davis (Eat Pray Love). As Aibileen, she is strong but delicate, humble but determined, soft but courageous. Davis's amazing performance helps lift the great story to an even higher level. I expect her to be recognized comes the award season.

The cast is outstanding as well. Bryce Dallas Howard (Hereafter) makes us want to slap her around, and when her comeuppance is revealed, we cheer with enthusiasm. Octavia Spencer (Dinner for Schmucks) is marvelous as Minny, and she manages to escape the cliches while portraying the sassy-mouth woman. Jessica Chastain (The Tree of Life) is equally fantastic as the town's outcast. Her relationship with Minny is one of the best things in the movie. Veterans Allison Janney (Juno), Sissy Spacek (Get Low) and Mary Steenburgen (The Proposal) add class to the already-classy production.

Written and directed by Tate Taylor (Pretty Ugly People), the screenplay adheres to the novel with its wonderful characters, interesting plot, and universal themes. The rich historical backdrop is fully realized, and the dialogue is strong and purposeful. Taylor skillfully and slowly unfolds the plot, which is strongly character-driven. With a large cast of characters, Taylor is able to keep the story straight, never leaving the focus and always keeping the characters and their relationships at the center.

While the subject matters and story are serious, there are also many light-hearted moments and laughs, especially through the outspoken character Minny. The screenplay builds on the foundation of the wonderful novel by Stockett, and the characters and their relationships leap off the screen. These colorful characters give the story the heart and soul, but also much laughs and tears. It's a cliche, but you will laugh and you will cry. While the film is filled with many great moments, the best line belongs to Sissy Spacek, and the final scene is devastatingly poignant.

I'm very impressed with the production. Everything from the art direction to costumes to cinematography to the acting is top-notch. During a summer of lackluster blockbusters, The Help will be remembered as a classic without much help.

Stars: Emma Stone, Viola Davis, Bryce Dallas Howard, Octavia Spencer, Jessica Chastain, Allison Janney, Chris Lowell, Sissy Spacek, Mary Steenburgen
Director: Tate Taylor
Writers: Tate Taylor (based on novel by Kathryn Stockett)
Distributor: Universal
MPAA Rating: PG-13 for thematic material and language
Running Time: 137 minutes

Ratings:

Script – 8
Performance – 9
Direction – 8
Cinematography – 8
Music/Sound– 8
Editing – 8
Production – 8

Total – 8.2 out of 10

The Change-Up

2011-08-05T10:51:00.000-07:00

© 2011 Ray Wong

Body-swap stories such as Freaky Friday are nothing new. What's different about The Change-Up is that it's a hodgepodge of gross-out raunchy and buddy/bromance comedy, except Judd Apatow, unfortunately, isn't involved in this.

Dave (Jason Bateman) and Mitch (Ryan Reynolds) are bestfriends who can't be more different. Married to beautiful Jamie (Leslie Mann), Dave is a workaholic and an overachiever. He's about to make partner at his firm but he's trying his hardest to juggle between being a father of three, a husband, and a lawyer. Mitch, on the other hand, is always stoned, always late, and a womanizer, and he never holds a real job (except his half-hearted attempt at being an actor). How these guys stay buddies through the years is a mystery.

After a night of carousing, Dave and Mitch, while urinating into a fountain, confess they want each other's life. Something strange happens. They wake up in each other's body. At first they freak out, and they try to tell Jamie the truth, but she simply thinks they are nuts. So reluctantly they must carry on their respective lives for each other.

They are like two fish out of water. Mitch almost ruins Dave's career, while Dave is totally lost in Mitch's chaotic affairs. Then things start to turn around. Mitch realizes what a loser he has been and that he can be a responsible person. Dave realizes he's been working too hard and missing out on life. They enjoy their newfound purposes so much that they consider not switching back at all…

Ryan Reynolds (Green Lantern) returns to comedy with ease. He is hilarious as Mitch the douche bag. What's good about Reynolds is that he can also do the serious side. His talent is evident when he switches personality to play the uptight and conservative Dave. Meanwhile, Jason Bateman (Horrible Bosses) hits comedy gold: he's perfect as Dave, but outrageous as Mitch. Both actors are excellent in their dual roles. However, I feel that they have failed to impersonate each other's mannerisms and body language. Thus, I am not entirely convinced that Reynolds is Bateman in his body, and vice versa. It feels more like Reynolds is trying to play the character Dave instead of playing Dave the way Bateman does (if that makes any sense). Same goes with Bateman (although I think he does a better job copying Reynolds' mannerism).

Leslie Mann (Funny People) is very attractive as Dave's wife Jamie, who is a working mother who feels neglected by her workaholic husband. Mann does a great job exuding self-confidence and doubts at the same time. Olivia Wilde (Cowboys and Aliens) is gorgeous as Dave's subordinates at the law firm (and potential love interest). She also shows great comic timing and zest that we don't always see in her performances.

Screenwriters Jon Lucas (The Hangover) and Scott Moore (The Hangover) give us a script that is contrived and predictable, but full with R-rated obscenity, bathroom humor, raunch and nudity. The plot follows a template: vastly different personalities and lifestyles, impending crises, misplaced affection or lust, and lessons learned. Obviously we are not supposed to watch a movie like The Change-Up for deep philosophical musing. We come for the laughs, and Lucas and Moore give us plenty to laugh at. Anything from potty humor to crude sexual references and awkward situations. It is, frankly quite sophomoric.

The dialogue is generally funny with a huge dose of raunch and obscenity, sometimes rather unnecessary. I mean, seriously? Even if Mitch is a douche (again, why is he still a friend of Dave's family?), he wouldn't be swearing and talking about sex stuff in front of Dave's young daughter (and why would Jamie allow that?). What kind of person does that?

Also, the situations seem contrived at times. Conflicts are manufactured to up the stakes. And the relationship between Mitch and Dave, while endearing, is unbelievable. Would Dave really leave Mitch alone in his office to potentially ruin his career? I don't think so. He would be sitting in the office watching over him at all times (it's not like "Mitch" has anything going on in his life). Then again, there will be no story -- that's why I feel the plot is rather contrived.

David Dobkin's (Wedding Crashers) direction is crisp and fast-paced. There's really nothing wrong with his workman-like direction. Just that there's not much to be commended either. The plot flows smoothly and he lets the actors do their thing; that's always important. He's also not shy with presenting some of the more graphic materials. The production is professional enough, but the soundtrack is totally forgettable. A missed opportunity here.

The Change-Up isn't a bad movie. It uses tired formulas and adds raunch and filth to it to spice the punch. If you enjoy raunchy comedies about a couple guys and nudity and sophomoric humor, this is not a bad way to spend an evening. Otherwise, change the channel.

Stars: Ryan Reynolds, Jason Bateman, Leslie Mann, Olivia Wilde, Alan Arkin, Mircea Monroe
Director: David Dobkin
Writers: Jon Lucas, Scott Moore
Distributor: Universal
MPAA Rating: R for pervasive, strong, crude sexual content and language, some graphic nudity and drug use
Running Time: 112 minutes

Ratings:

Script – 6
Performance – 7
Direction – 7
Cinematography – 7
Music/Sound– 6
Editing – 7
Production – 7

Total – 6.7 out of 10