Awards Season is On

It's been a busy couple of days on the awards circuit, the Gotham Independent Spirit Awards revealing themselves last night, the  New York Film Critics announcing their year end picks as well, and today the West Coast Independent Spirit folks put out their list of nominees.   Put it all together and what have you got: well, The Artist, certainly.  A big hit at Cannes, but playing only an extremely limited run (four theaters so far) here at home, this film is a serious critical darling but hasn't yet had a chance to prove itself among regular folks.  Another small film, Take Shelter, got attention from these organizations, both for Best Picture and for lead actor Michael Shannon.  But Take Shelter is a dark story with an ambivalent ending, an unlikely film to get mixed up in the big leagues, although Shannon could get a nod for acting.   Brad Pitt got noticed by the New York film Critics for his performance in Moneyball; this relatively small crowd of writers also chose Meryl Streep as Best Actress in Iron Lady.  Neither one of these films would get noticed by the Independent Spirit folks, who leave any big studio film out of their considerations, but certainly this is a clue that Pitt and Streep will get attention from Oscar (and the Screen Actors Guild, and the Golden Globes).  Jessica Chastain also got some love for her performances in (take your pick) Tree of Life, Take Shelter and The Help.  She has had a busy year, and will no doubt have a lot of red carpet walks in the next few months.


But, award hopes aside, all these picks and nominations can provide some film going direction. In the next month, there should be some high quality movies at the multiplex.  Look for Iron Lady, and The Artist, although The Artist is more likely to show up in art houses.  Spielberg's War Horse, a World War I story, is getting lots of buzz (it is a Spielberg film) and The Girl with the Dragon Tattoo should make a splash, although it's bound to be a brutal, bloody one.  Tinker Taylor Soldier Spy, a thriller based on a John LeCarre novel, is getting positive reviews from the handful of critics who have seen it,  and Young Adult, a story about a morally ambivalent woman (Charlize Theron) who returns to her high school reunion determined to rip her old boyfriend away from his wife and family, is generating some good acting kudos. Extremely Loud and Terribly Close, based on a novel about a boy whose father died in the Towers on 9/11 and left a mysterious key behind, is getting a lot of buzz even though no one (really, no one) has seen it yet.  Some  bold prognosticators are even calling it for Best Picture.  Back in the real world, look for The Descendants, whose Oscar hopes are rosy because of its solid box office and loving critical reviews.  It's also a good film and still in theaters.  My Week with Marilyn is also getting attention for Michelle Williams' performance.  Too soon to tell how any of these will fare come awards times, but they should provide some good movie going entertainment.  More awards insight and prognosticating as the story unfolds. 

Review: The Descendants

Fox Searchlight

Good movie. George Clooney stars as Matt King, a disconnected dad who has to step up his parenting game when a boating accident leaves his wife in a coma. His two daughters, ten and seventeen, are mysteries to him, but he’s a essentially a warmhearted guy, giving the unexpected dad thing his best shot until older daughter Alex (played with beautiful authenticity by Shailene Woodley) hits him with a bombshell: his comatose wife has been having an affair. “She was cheating on you, Dad,” Alex tells him, in a matter of fact tone that is only a little impatient, as though this huge development in his marriage was something she pretty much expected him to miss. But once the news is out Matt is galvanized into action, collaborating with Alex to track his wife’s lover down – determined to confront the guy, wanting to see his face when he learns that the woman he has been dallying with is at death’s door.

Obviously there is a dark side to all of this, but writer/director Alexander Payne (Sideways) teases the humor out of the drama, and George Clooney gamely allows himself to appear foolish, letting go of his leading man suave to look believably awkward when he peers over a hedge trying to spot his wife’s mystery man, or races in flip flops to his neighbors’ house to demand the truth about the affair. The film lingers a little too lightly on the real pain at the heart of this story, skims over the tough stuff, but we still feel enormous sympathy for the characters and keep pulling for them. With Robert Forster doing great work as the dying woman’s father, and young Nick Krause providing welcome comic relief as Alex’s friend. Playing a relatively small run (433 theaters) throughout the country but it’s doing good business and should expand. Lots of Oscar buzz. B+

What to See November 18, 2011

The big opening of the weekend is Breaking Dawn – Part 1, and if you are on Team Edward or Team Jacob (no one seems to need a Team Bella) you are already in line for the midnight show. Good for you, but keep me out of it. I am hoping to miss this one. I’m not sure what I dread most: Kristen Stewart’s sourpuss face, Edward Pattinson’s steely blankness, or Tyler Lautner’s wholesale abandoning of any nascent acting talent in exchange for flashing his abs. It all depresses me, and we haven’t even arrived at the bizarre birth scene. Oops! Spoiler alert. The other big opening is Happy Feet 2, an animated tap dancing penguin movie. Early reviews are mixed, but it looks like a solid family film.

More highbrow, The Descendants opens this weekend in a handful of theaters; this is one of the best reviewed films of the fall, definite Oscar bait. George Clooney stars as an absentee dad who has to step up his parenting game when his wife is injured and falls into a coma.

Held over are a number of biggies: Adam Sandler’s Jack and Jill, Tower Heist and The Immortals. You might be wise to skip all of those but if you are in the mood for a big Hollywood movie, Tower Heist is a better bet than the other two. Unless you absolutely love Adam Sandler, and, just a tip, the membership of that club appears to be dwindling. Jack and Jill had a disappointing opening weekend and critics really hated the film. On the other hand, people who showed up liked it well enough.

If you happen to live in a city with an art house scene, look for a film called Like Crazy. This charming, unexpected and extremely well done love story is one of the best films out right now.

Review: J. Edgar

Warner Brothers

I hate to burst bubbles, but this movie is a snooze. Leonardo DiCaprio plays the title role and he tries mightily to make it work, but the script lets him down; J. Edgar Hoover, one of the most significant and controversial American public figures of the 20th Century, is presented with such a narrow, insulated focus that it’s hard to tell if he was a real threat to his enemies or just an awkward, slightly deranged man ranting about in his office. The film is shot in understated tones with muted colors, and that might have seemed retro cool if the story had any spark, but instead the low key presentation too easily allows your mind to wander. I started planning my weekend.

The story begins early on, when Hoover is an eager young agent trying to bring a new level of sophistication to crime investigations. Determined, ambitious, and socially awkward, he is appointed the first head of the new Federal Bureau of Investigation when he is only 24. He assembles a personal staff that includes his secretary, Helen Gandy (Naomi Watts) and his number two in command and possible love interest, Clyde Tolson (Armie Hammer). The film spends a good deal of time attempting to explore the relationship between these two men, which was a source of speculation for anyone who paid attention to Hoover, both during and after his lifetime. The question was never resolved, though, and J.Edgar’s considerable efforts to lift the veil seem hackneyed and flat.

The film divides Hoover's nearly fifty years as head of the Bureau by referencing different crimes or crime sprees; in each segment Hoover has a young agent sequestered in his office, dutifully typing up the director's version of events. The story evolves from these memoirs, which, unfortunately, make us like those young men sitting at the typewriter: we merely take down what Hoover has to say. The film provides no context, no characters to give perspective. We don’t know, for example, why the Director feels a need to explain himself, since we see no one of any significance seriously questioning his actions. When he goes on his well documented vendetta against Martin Luther King, we don't see anyone in King’s camp react; we never get a chance to understand if Hoover’s hatred of the civil rights leader had any consequences.

Armie Hammer does excellent work as Tolson, even though his aggressive aging prosthetics never seem natural. Naomi Watts plays a routine role in a routine way. Clint Eastwood is a great director when he has the right material, but this one misses the mark. Still playing wide throughout the country.  B-

Review: Margin Call

Roadside Attractions

Margin Call is set on Wall Street in the fall of 2008. It revolves around a handful of upper echelon players in a big investment firm - well, they are mostly upper echelon: in a memorable performance, Zachary Quinto plays Peter, a young risk analyst who identifies the beginnings of the coming financial meltdown before any of the more experienced executives have taken notice. He gets a tip from his recently fired boss, Eric (played with calm understatement by Stanley Tucci); Eric slips him a flash drive before he leaves the building for the last time, warning Peter to “Be careful.” 

It’s good advice. Peter passes up a happy hour outing with co-workers and stays late studying the file Eric gave him. Within a few hours he has it figured out: the beginnings of the biggest financial crash since 1930 laid out in colorful graphs and numbers on his computer screen. It’s about 9:00 at night, and from here the clock starts slowly ticking towards financial Armageddon.

The film doesn’t spend much time trying to explain the mechanics of the crash. It only covers a tiny bit of time, less than 24 hours. Peter alerts his boss, and as the news travels up the corporate ladder executives arrive back at the office in the dead of night (all nicely dressed, hadn’t they gone home yet?), trying to grasp what’s happened and waiting to meet with head honcho Jeremy Irons, who lands on the roof in a helicopter around 4:00 AM. And here is the heart of the story, the real question being asked: once all of these high level insiders understand the stakes, how will they respond? With nobility? Crass self interest? Is there a moral debate to be had?

It’s interesting stuff, and it’s handled in a far more intimate and revealing way than in a film like say, Wall Street 2. If you ever wondered what went on in those moneyed ivory towers as the financial system came tumbling down, this is a great film to see. With outstanding performances by Kevin Spacey and Paul Bettany as the two execs on the front lines of dealing with the crisis. Still playing in selected theaters nationwide. B+

Review: Tower Heist

Universal

You would think with all the talent in the cast of this movie, they could have come up with a better story.  Ben Stiller stars as Josh, the manager of an uber-luxe apartment building in Manhattan; the grand and personalized service that he and his staff provide are the reason rich people want to live there.  But a scandal breaks out – turns out the richest of the rich tenants, the guy in the penthouse, is a Bernie Madoff type, swindling folks out of their money with an elaborate Ponzi scheme.   That’s trouble enough for the luxury building, but there’s a bigger problem for Josh: he arranged for the swindler, Arthur Shaw (Alan Alda) to manage the staff’s pension fund.  Everybody’s lost all their retirement money.

Feeling angry, and pretty guilty, Josh talks some of his colleagues into executing a heist: they’re going to steal the money back.  Word is that Shaw has a stash somewhere; they just have to find it. Being inexperienced criminals, they decide they need help to learn evil ways, so Josh recruits pretty thief Slide (Eddie Murphy), to play bad guy adviser to the team.  Seems Josh and Slide grew up together, and if that seems improbable, wait till you see the rest of this film. 

It’s not all bad.  Eddie Murphy is funny, so is Ben Stiller, although he doesn’t get much to work with here.  The heist team includes veteran actors like Matthew Broderick, a tenant and out of work financial wiz who’s trying desperately to hold onto his fancy digs in the building, and Michael Pena, a former staffer who lost his job.  And Casey Affleck, building concierge and weak willed conspirator who also happens to be Josh’s brother-in-law.  There’s potential here but it doesn’t get a chance to develop, the story isn’t quite clever enough, or over the top enough (even though they work in the Macy’s Thanksgiving Day parade) to make the whole thing really zing.  But, did I mention that Eddie Murphy is funny? Yeah, he doesn’t’ get enough screen time but when he’s there, the movie is fun.  Playing everywhere.  C+