Review: Barney's Version (2010, Dir. Richard J. Lewis)

Bachelorette # 3: Rosamund Pike and Paul Giamatti tie the knot in Barney's Version.

Barney's Version--Paul Giamatti delivers a much-deserved Golden Globe-nominated performance in this light, comedic drama following the life of a cranky but loveable television producer that encompasses three marriages, two continents, and one foul-mouthed Dustin Hoffman. Giamatti plays Barney with enough crass to make him edgy and enough charm to make him bearable, creating hilariously irascible eyes and ears for the audience who glimpses at a tonally uneven but nonetheless insightful story that sometimes loses itself between being both harsh and maudlin. Rachel LeFevre and Minnie Driver infuse their supporting wife characters with credible and wry wit that gives the film its snapping bite, while Scott Speedman does what he can with a one-note, washed-up albeit pivotal role. Hoffman is terrific and makes his performance memorable with natural goof and warped wisdom, but Rosamund Pike comes out with the strongest turn. She’s bewitchingly gorgeous and enchantingly emotional—her evocation of heartbreak and happiness drives the story, making her stop both Giamatti and the audience in their tracks (and even steal a few scenes from him, too). Their romance is the core of Lewis’ film, as it pins down all the marriage’s warmth, chill, and everything else in between. It’s easy to tell the filmmaker is passionate about the iconic source material, and he does struggle at times to enhance development of significant sections and characters (Barney’s kids are somewhat overlooked, and Hoffman’s role is sadly underwritten) in favor of creating a tight adaptation. Barney’s Version, thus, suffers from some shifts in tone (ranging from jarring darkness to light humor while even uncomfortably mixing the two), but for the most part is a very enjoyable, funny, and even uplifting romance that features two carefully constructed and emotive performances from Giamatti and Pike.

Grade: B

Review: The King's Speech (2010, Dir. Tom Hooper)

Behind every great man: Colin Firth as King George the VI in The King's Speech.

The King's Speech--Classical without feeling dated, Tom Hooper's The King's Speech is an incredible piece of work that mixes traditional storytelling with innovative cinema. It's comfortingly familiar and refined while also surprisingly funny and touching. Colin Firth leads a brilliant ensemble as King George VI, who replaces his incompetent, womanizing brother (Guy Pearce, infinitely smug and stubborn) at the throne and is hampered by a frustrating stutter. Having to overcome his impediment to deliver countless war speeches, his wife (Helena Bonham Carter) hires Lionel Logue (Geoffrey Rush, a quirkly delight), a vocal therapist whose unorthodox but endearing ways empowers the King with confidence, skill, and heart. 

Firth gives his best, most layered and nuanced performance to date (showing even more range than he did in the compelling A Single Man) as King George VI, masking humanity and vulnerability with a whirlwind of emotions. Rush is equally brilliant as Logue, with touches of authentic sincerity and stubbornness that drive their heartwarming friendship and even the film's deft comedic elements. Speaking of humor, Carter is also terrific--she supplies the film with the funniest lines and scenes, while gracefully acting as the backbone of George with wit and determination. All three performances are full of depth and impact as they bring these historical figures to life with the most fascinating and endearing human qualities. Hooper's film on fragility and redemption is shot beautifully--the cinematography is breathtaking, and quite dynamic. In particular, his framing devices are especially unique as they vitalize the genre with unexpected energy. The last sequence is one of the best scenes of all year, with gorgeous shots and tremendous music. Hooper's film is delightful, uplifting, and touchingly empowering that showcases three of the best performances of the year. Rush and Carter are impeccable, but as for Firth, all hail the king. 


Grade: A

Review: Love and Other Drugs (2010, Dir. Edward Zwick)

Risk of overdose: Jake Gyllenhaal and Anne Hathaway in Love and Other Drugs.

Love and Other Drugs--I always admire a director who delves into newish territory, but perhaps Edward Zwick should stick to the historical action-dramas (Glory, The Last Samurai) for which he's best known. His latest film, Love and Other Drugs, is too much at war with itself for the audience to appreciate what it actually offers (thematic and social insights, solid performances) as it struggles to find the tone it wants to maintain. The film tells the story of a mid-'90s young drug rep (played charismatically by Jake Gyllenhaal) whose playboy antics screech to a halt when he meets free-spirited Maggie (how do you know she's a free spirit? Duh, she smokes weed and paints...), and a label-free romance ensues as both characters predictably come to terms with what they really want. 

What the film does get right is the depiction of the pharmaceutical industry--it's the most appealing aspect of the film, as both its cut-throat and superficial sides come to light and create an interesting atmosphere. Unfortunately, that's as developed as Zwick's movie gets. The characters are superficially drawn and immensely cliched, for Gyllenhaal and Hathaway do what they can with their roles. The former displays comedic charm, but beyond that shows very little depth; the latter, however, gives a solid performance and shows that she's capable and deserving of much better. Hank Azaria and Oliver Platt are serviceable in their highly limited supporting roles, while Josh Gad as Gyllenhaal's crude brother is just plain annoying and adds nothing to the film. In fact, he encapsulates an entire problem of the film--Zwick doesn't know whether he wants to tell his story in the form of a raunchy sex romp (a la Apatow...I never thought I'd say that...) or a dignified, adult romance (something along the lines of a James L. Brooks film, or even the recent Up in The Air). This tonal tug-of-war just hampers the film in all departments, making it come off as intermittently enjoyable at most instead of the mature and provocative romantic-comedy it had the potential to be. Love and Other Drugs is frustrating in the sense that while the audience laughs and is moved enough (just barely, in fact), they won't rid the fact that they had wished they'd seen the film it could and should have been. 

Grade: C

Review: Made in Dagenham (2010, Dir. Nigel Cole)

We're not gonna take it: Sally Hawkins heads the movement in Made in Dagenham

Made in Dagenham--The female-driven, sticking-it-to-the-man power grab has basically made itself into a genre now, with Nigel Cole's newest film being no exception. Detailing the female workers' struggle to achieve equal pay in the male-dominated corporate culture of Ford automobiles, the film walks an impressively tight line between light-hearted sparkle and tasteful docudrama. This is in part due to Cole's direction, for he's depicted cinematic femininity before (2003's Calendar Girls) and knows how to make a film feel both accomplished and polished. He's assembled a strong cast led by Sally Hawkins, playing factory worker Rita O'Grady who becomes the spokeswoman for her co-workers' plight for recognition and fairness. 

Hawkins is beyond superb--she energizes this true story (albeit familiar formula), making it bounce with her perfect comedic timing or warm with her heartful and empathizing performance. She embodies the spunky strength and determination while basing her character in reality--she never hits a false note, for Hawkins is a pro and knows exactly where to take this character. She breathes compassion and complexity into Rita, just like other supporting players do with their roles. Bob Hoskins, Geraldine James, and especially Rosamund Pike and Miranda Richardson all give solid turns; Pike and Hawkins share one of the best scenes of any film this year while Richardson more than makes the most of her character in about five brief scenes. Her presence is stammering and her wit is intimidating--Richardson personifies both power and the humanity it shelters. The film never wanders into unnecessary distractions as its tone is maintained and focus is clear, but it does hit a few cliche bumps along the way. With films like Norma Rae, Iron Jawed Angels, and North Country coming to mind, it's no surprise that Made in Dagenham hits a few familiar notes (elements ranging from male adversity to montage sequences seem somewhat recycled) and its rather simple storytelling is too slight and nearly borders on bland. But Dagenham isn't a film that shoves itself down audiences throats, and that's something to be admired. It's enjoyable, effective, and emotional, and a showcase for the wonderful Hawkins. 

Grade: B+

Review: The Next Three Days (2010, Dir. Paul Haggis)

It's game time: Russell Crowe in The Next Three Days

The Next Three Days--It's been three years since Paul Haggis' last heavy-handed, socio-political film (In the Valley of Elah, persuasive without being manipulative), and instead of cinematically crafting a subverting message he delivers a classic crime thriller that's rather broad for him, but fine for us. Russell Crowe stars as a father whose wife is arrested for murder, and deals with a marital relationship that dwindles in hope and trust thanks to the separating bars. He decides he can't live in this fractured state, and plans to break her out of the prison--that is, until the plan starts to go awry. 


Haggis' film is, on paper, a very slight one. It has a simple premise, few characters, and the most connectable dots. What he does, however, is stretch it to 132 minutes--surprisingly it doesn't hamper the film's impact all that badly. Characters are fleshed out both by the dense script and powerful performances; Crowe is never bad but here he's actually terrific, with an even more solid turn from Elizabeth Banks, whose potential keeps growing and growing. There is substantial supporting work from Olivia Wilde and Brian Dennehy, as well as the effective musical score (and song choice--Haggis especially does this well). But the harm comes from the bad pacing--it painfully drags in the middle as it tries to build tension, but only accumulates boredom. This is especially detrimental because the film is already grounded in such implausibility (the plot is exciting but hysterical) that when we're taken out of the it because of its length, we question the movie's value more and more. That said, The Next Three Days is still a much-forgiveable film as it deftly balances family/relationship drama with the heist genre. It's pulsating, yet emotional. 


Grade: B

Actress Profile: Jill Clayburgh & An Unmarried Woman (1978, Dir. Paul Mazursky)

Jill Clayburgh (1944-2010) in An Unmarried Woman

Jill Clayburgh had a low-key, though very impressive career with an array of roles in which she gave fascinating and breathtaking performances. Though she performed on stage in numerous plays throughout the years, audiences remember her best from her Academy-Award nominated turns in 1978's An Unmarried Woman and Starting Over, as well as Luna, Shy People, Running With Scissors, and recently, the Television series Dirty Sexy Money. Along with other actresses in the 1970's, she was the face of New Age feminism (independent and strong-willed women) with role choices, but altogether Clayburgh was an actress to be reckoned with--her films were socially groundbreaking mostly because of her memorably brilliant performances. 

Arguably her best known work, An Unmarried Woman was written and directed by veteran filmmaker Paul Mazursky. It tells the story of Erica, an affluent wife and mother from the Upper East Side who's suddenly dumped by her husband for a much younger woman. Confused and disoriented, Erica is taken on a roller-coaster of emotions as she experiences her new single life and tests unlimited possibilities that bring her joy, pain, and most importantly, indispensable insight. 

Mazursky's direction is solid and script very revelatory--while humorous and (at times) light, he depicts divorce as both something grave in terms of shaping the people coming out of it and mysteriously exciting. These two opposite ends of this relational spectrum often blur together in his film, as Erica both laughs and cries over her plight and wish to just lead a normal, manageable life no matter what the case. Though Mazursky's story wouldn't be best realized as a compassionate though authentic piece of cinema without Clayburgh's excellent, layered performance. Displaying humility, grace, fear, surprise, anxiety, and sexuality (among a range of other whirlwind feelings) within a second of a facial expression, Clayburgh is gleefully toxic. Her performance is so relatable and contagious that you can't help but align yourself with her whether she's being rational or not; in one of the best roles written for a female in the 1970's (and, looking back, perhaps in the past three to four decades), Clayburgh absolutely nails it. She personifies the brink of the sexual liberation period of the time, breathing into it humanity and heart. A terrific film that harbors a terrific performance--without it, Mazursky's film would be biting but not as tender and resonating. 

Grade: A

Clayburgh is an actress to remember and cherish through all her notable and moving roles. 

Review: All Good Things (2010, Dir. Andrew Jarecki)

A job that makes a killing: Ryan Gosling and Kirsten Dunst in All Good Things.

All Good Things--It's not strange at all that director Andrew Jarecki finds interest in dramatizing the mystery surrounding the case of a wealthy New York real-estate tycoon's involvement with murder. He, in fact,  documented the uncovering of a troubled family in 2003's Capturing the Friedmans. All Good Things tells the story of a troubled young man (Ryan Gosling) who is torn between his loyalty to his family's legacy (represented by his tyrannical father, played by Frank Langella) and desire to entirely deviate from that environment with his young wife, played by Kirsten Dunst. What ensues is his corrupt involvement in his family's business, and eventually the disappearance of his wife and murder of his best friend. 

For a film focusing on a story filled with tension and deception, All Good Things feels somewhat lifeless. The characters are rather shallow--Jarecki never really gives us any sense of subjectivity or emotion other than surfaced expressions, while the dialogue does little in terms of revelation or humanizing. This is not to say any of the performances are bad, though. Gosling and Langella serviceably do what they can with their characters, while Dunst gives an unusually strong performance as someone who should be depicted as much more complex than the film allows. The film's narrative pace is crisp and it's shot beautifully--the cinematography and editing hints at an eerie tone that's never fully realized because the film is restraining too much. In fact, it feels much slighter than it should be. If it gave its characters and plot more breathing room and perhaps extended certain sequences, the film would be much bolder and endlessly haunting. The story is intriguing enough, but the film isn't. Despite great performances and technical credits, All Good Things holds back when it should be striving for something more. 

Grade: C+