The Other Woman

Who out there does not enjoy a good revenge movie?  You have a loathsome, intolerable individual creating havoc for their own pleasures, and a plot to get even by the person (or persons) whom have been pulled into their black hole of destruction.  It can be a very satisfying feeling to know that justice had been doled out in some fashion, that the victim takes control of the situation and becomes the victor.  The Other Woman (directed by Nick Cassavetes) promises to be such a tale, as a Carly the successful lawyer (Cameron Diaz) finds out that her loving boyfriend is married to the petite and emotional Kate (Leslie Mann), and both of them discover that he is has yet another affair with the young and pretty Amber (Kate Upton).  The three women get together to conspire against the heartless perpetrator, Mark (Nikolai Coster-Waldau).

It may sound like an interesting premise that shows the now empowered women coming out on top, and they do in fact, in a way that could entertain audiences of all ages and genders.  However, that would be a lie.  It is not that.  Well, it is in ways, but not in others.  It is a pizza that has the toppings you like on one side, but once those pieces are eaten (and they always get devoured first) you are left with having to force feed yourself the most undesirable of fixings.  That is how I best see this film.

While not perfect, the first half of the film had me very entertained and laughing on a steady basis, thanks to the performance of the criminally underappreciated talents of Leslie Mann (we will think of her as the crust, because she is the only thing that is consistent on this pizza).  Mann does not just do great line delivery, but gets her full body into the act and does it with a rare verve.  I have often wondered why she has not broken through in Hollywood and headlines movies, because she is so gifted.  My dream would be to see her in a film with Melissa McCarthy, because I just know those two could put on a show like no other.  There is a point in the film where Cameron Diaz gets pushed out a window by Mann, something that could bring a laugh or two, but it was the way in which Mann shoved her out that made it incredible.

Diaz, well she was alright.  She is a very good actress, but not on the same comedic level as Mann.  For the most part she was able to hit her spots and get a laugh, but not nearly as well and was overshadowed in this movie.  Kate Upton… uh… I will get to that in a bit.

The film was proceeding well up until the point of the inclusion of Upton’s character (speak of the devil).  It was not her fault that the film went downhill from there, although she was no up to par with her coworkers, but rather that the film became very sloppy and contrived.  Until now we had a movie (with flaws, as I had mentioned) that had taken a lot of time to develop a relationship between Carly and Kate.  I did appreciate how Cassevetes showed a willingness to forge a semi-proper and semi-coherent development that could bring these women together and bond over the same cheating bastard that had played them both.  From the arrival of Upton (whose character brought nothing to the table), the pace of the film changed, moving everything too fast and losing sight of the tone it had been working to create in the first half.

With probably around thirty minutes left in the film (I don’t know if it was actually thirty minutes, because I didn’t want to be that a-hole who checks his cell phone, but at the same time I did want to be that a-hole because I was bored and I have solitaire on my phone) I had begun begging for the end.  The disintegration of the film was not just around the tone, but the plot, and the actions of the characters.  It seemed that during the writing process Melissa Stack (the writer) said, ‘one of the girls needs to back out now,’ so she decided that one would back out for reasons that did not fit with the established personalities.  And then a few pages later she thought the same thing, and forced another character to do the same, because I guess characters all of a sudden acting differently from how they did previous makes good story telling.

**** Spoiler Alert ****

There was a point in the film where the three girls decide revenge and Amber’s solution is to kick him in the balls.  Not good enough, declares Carly, we need to really get him.  So, what happens next is a series of juvenile pranks that make Mark get large nipples, lose a minimal amount of hair on his head, and poop his pants.  Yep, that is so much more sinister and adult than shoeing him in the nuts.

The pizza could no longer really be called a pizza except for the fact that this diseased and tasteless second half still had a crust under it, which was Leslie Mann who played it well the whole way through.  Her abilities were not enough to save me from the ending, which was supposed to be a brilliant scheme, from feeling like it should have been a mid-nineties movie starring Adam Sandler, David Spade, and Chris Farley.  It was a disaster, and sunk my feelings of the film even lower than they had fallen.

Was it funny?  Yes.  I think people can get a number of laughs from this movie.  Do comedies need to be brilliant?  Nope, not at all.  Any movie, regardless of it being a comedy or not, needs to remember what it is and try to have some consistency through it, and this movie flopped at achieving that goal.  I will end the review adding on that the music in the film did not serve it at all.  It was poorly selected sounds that were overly-generic and made if feel cheaply made.  There were also mini music-montages that showed bonding and self-reflection that were jarring because of the lame choice of soundtrack as well as no proper transition into or out of those moments.  Ack.  Yep, my thoughts.  I am done talking about this film, and I am quite happy about that.

Rating – 2 out of 4 stars

(The rating may seem a bit high for a film that I am speaking so poorly of, but remember… half of this pizza was worth tasting)

Bernie

This is a review that I had planned on having up on Friday, but other tasks and goals conspired against me and before I knew it the time was 2:30am and it seemed more advisable to get some sleep than to push out a sleep deprived review of a great film.  The movie is Bernie, a film directed by Richard Linklater, and it is a dark comedy that also strives to add some depth to it by making a social commentary around the perception of people and the acts that they do.

Let me take a moment away from talking about the movie to speak of my adoration for Linklater.  As far as great directors go, he is one that most people may never have heard of before, which is a great shame due to his ability to capture the essence of characters and great authentic and intimate scenes that ring true to the growth of the human experience.  He was able to take a ‘stoner movie’ in Dazed and Confused and spin a tale of phases of life, motivation, and the journey.  With perhaps twenty or more characters you meet in the film we are given a sense of understanding as to who they are, an accomplishment that is remarkable seeing as how many movies fail to do that with even their main character.  I could go on and on about him, but perhaps I shall turn my attention to the film at hand.

Bernie (which is based on a true story) follows a small town mortician named Bernie Tiede (Jack Black), a man who wins the hearts of the residents of Carthage, Texas once he arrives to work in the local funeral home.  He quickly shows his ability to not only excel at his job, but also his desire to strengthen the community through his continuous efforts in everything from assisting in the local church to helping the theatre group rise to new heights.  Bernie soon befriends Marjorie (Shirley MacLaine), a horrifically bitter and alienating women of financial excess after her husband dies.  The relationship soon faces tension as she begins to become dominating of Bernie’s life, suffocating him with her demands to the point of making the gentlest man on the earth break and take her life.

The film is done in a bit of a mockumentary style, with interviews of the locals of Carthage talking about both their town and Bernie.  This choice really plays well with the story as it is able to evoke the down to earth atmosphere, and sometimes miss-guided gossip, that circles around such communities.  It had a feel very similar to Christopher Guest’s Waiting for Guffman, a full on mockumentary around an individual who has appeared in a proud small town.  There is so much glee and laughter to be had in these snippets that are given to us, with the actors fitting into their roles appropriately, both in physical appearance and line delivery.

While the faces of the townsfolk bolster the story, the leads turn in performances that rise to the level of the script.  Jack Black’s portrayal of Bernie is one that is able to give a sense of genuine sincerity, compassion, naivety, as well as being very unique in a way that breeds humourous moments thanks to his appearance, and subtle, small voice.  Jack Black is usually known for being a silly man, and I won’t try to defend that perception as his choice of roles does allow him to be pegged in that category.  However, it is important to note that behind this singing comedian is a true actor who just does not seem to come out near enough.  It was in Shallow Hal (believe it or not) that in a moment I saw something in him that told me there was untapped talent that needed to be birthed.  Bring on more opportunities for Black, I say!

Sitting opposite, constantly chewing her food with an absent look that burrows into your soul and exudes her personal disappointment in you is Shirley MacLaine.  She really is a terrific old bitch in this film.  Her character is such that while everyone in the community absolutely despises her there are opportunities for us to see the true humanity that lies below the socially destructive exterior.  MacLaine makes the softer side of Marjorie appear to be a natural state that is hidden by her defense mechanism of putting up walls to keep the world out.

The third main player in this film is local District Attorney, Danny Buck (Matthew MCConaughey).  A man who loves the limelight and plays the media, Buck is an energetic man of the legal system who does have a hope of seeing justice properly served.  If there was ever a wrestler gimmick of a DA, Danny Buck would be the man to do it, because he cuts a promo well, something that he has used to keep his job secure.  Buck’s gun slinging verbiage comes up against the task of trying Bernie in court after the death of Marjorie, and finding the tension that exists in the people of Carthage who either refuse to believe that Bernie did the crime or think that Bernie is just too nice to convict.

And this is an underlying theme in the film, as perception of the killer leads to an improper perception of the crime.  Linklater creates a dance around this concept by allowing the voicing of the townspeople to be heard to the audience through the mockumentary interviews, to the point that the viewer may start looking at justice a little differently.  It is pushed back on by Buck’s comments and statements, which can begin to pull the audience over to his point of view.  In essence, the viewer becomes the jury, bouncing around from different points of view over a crime that has so much evidence that there really needs to be no trial at all.  Just as easily as public opinion could overlook a crime such as Bernie’s due to his personality, it is so often the reverse, where we instantly want to see the full strength of the law fall on someone who has committed such heinous crimes.  

When a film is able to cross the lines of being comedic with having a true message that is not forced or heavy handed, it can be a wonderful experience.  The majority of the laughter in the film takes place in the first half of the movie before it begins to explore the themes.  One movie which I reviewed, It’s a Disaster, was frontloaded in terms of the comedy as well, but as it moved forward in its change of pace it felt like it forgot the tone that had been established, and almost felt like the movie was broken into two.  Bernie is able to do such a thing, but it stays true to itself in the process and it stays as one coherent story.

What more can I say, other than the fact that Linklater continually proves to be a very dynamic director who captures people and communities with perfection.  It is almost as though he sees something and places an upside down bowl over it to contain it in its absolute reality.  What you get is a slice of entertainment that rings with authenticity, transporting the viewer to the subculture and lives of the tale.

Rating – 3.5 out of 4 stars

Hannah's Pick: Deadfall

Today the sun seems to be feeling a little insecure and enjoys playing the role of introvert at times, hiding behind the clouds and giving a bit of a grey tinge to the afternoon.  Playing off of that backdrop, I decided to watch Deadfall, a movie with a bleak atmosphere that focuses on the harsh, unforgiving cold of winter.  The lifeless environment in the film is one that Austrian director Stefan Ruzowitzky exploits in a story of a heist gone wrong, and all of the people who get wound up in the path of destruction that follows the fugitives on the run.

It is a movie that was never set up for the ultimate graces of Oscar recognition as its flaws were easily seen, but even through those imperfections there was a well told tale with characters that were designed with depth and stories of their own.  Many times over I complain about lack of character development and Deadfall shows why interesting people, each with their own struggles and backstories, can aid in creating a realm that the viewer feels in touch with and cares about.  When I say mention depth of characters, I am not saying it is on the same level of a David O. Russell film, but more that it is light years ahead of what a normal film of its genre and quality would attempt.

While the basis of the principals involved was important, the casting amplified it and is what was able to take it to the next level.  Eric Bana played Addison, a criminal with a cold heart and very little hesitation when it came to ending a life.  His sister Liza (Olivia Wilde) lives a life of dependence on the protection and controlling guidance of her brother, emotionally captured and almost unwilling to break free for herself.  Finding himself out of jail and crossing paths with Liza is Jay (Charlie Hunnam), the child of a former small town sheriff (played by Kris Kristofferson) who has a troubled past with his father.  Finding herself caught up in the chaos of tracking Addison and at the receiving end of sexist behaviour from the male dominated police force is Hanna (Kate Mara).

Each of the actors involved works hard at embodying their roles, realizing that they are more than just a name or plot device, and they provide a true sense of unique characters weaving their way through an extraordinary and dire circumstance.  Hunnam is very adept at portraying someone who has a hard edge, but also is wounded by his surroundings and past, an ability that he also puts on display in his role on the television show Sons of Anarchy.  Kate Mara was a standout as well.  With a small physique and a look of fragility and innocence she shows grit as she is faced with constant discrimination because of her gender.  If ever someone wants to make a movie about a strong willed female, either of the Mara sisters seem to be bred for such roles.

It ends up being the theme of sexism that at times is what holds the movie back and disturbs its attempts at flowing narrative due to overt and forced methods for creating this tension.  While it is essential in telling the story of Hanna’s life and adds dimension to her character and decisions, it is never approached with any subtle or well-crafted nature and is laid on overly thick.  In the midst of immersing the audience in an atmospheric and character driven thriller, a poorly evolved theme can become very distracting.

My only other possible complaint with the film would be the reliance on very generic music during action sequences and scenes with tension.  Deadfall is a movie which aims to stand out from other thrillers by its delivery, and the soundtrack that was decided on for the adrenaline inducing sections left a part of me wishing that they had sought out something that was perhaps more in tune with its uniqueness and personality.  Still, that is not an issue that would ever have me try and dissuade someone from checking out this film.

If you are like me and enjoy movies that try to do more than present people whose identities are based solely off of their profession or personal relationships (such as last year’s Evil Dead) then you may just get a kick out of Deadfall.  As it approached the climax, there were many different reasons to feel connected to the outcome because of the attention that is paid towards rounding out all of those involved in the story.  Even though it is not perfect it is a film that attempts to put pride in its characters, an aspect that keeps the viewer continually interested throughout and craving proper resolution at the end.

Rating – 3 out of 4 stars

Heaven is for Real

Quite often I will keep from reviewing (or even watching) faith based movies.  Typically there is little positive to say about the production value, script, and tone of the films, with many of them forgetting subtlety and bluntly bashing home their themes in ways that could leave people outside of the religious fold feeling as though they were tied down and force-fed a diet of theological cinema.  It is not even as though I do not hold religious beliefs, but more so a fact that I want to see movies of a certain quality (it is a bit ironic that I claim that, because I still find myself lured into watching movies about sharks being caught in massive wind storms).

Heaven is for Real stands out from other similar films due to a high level of production quality.  While most faith based movies have the appearance of a made for TV movie, director Randall Wallace (We Were Soldiers, Secretariat) brought a level of expertise which visually afforded Heaven is for Real the ability to look like it was meant for the big screen.  There were very few times where I was left to believe that I was sitting on a product that perhaps did not deserve to have made it into wide release.

Outside of that, however, there was very little to consistently praise the movie for.  I equate this movie to a person who is a decent singer, able to hit a lot of notes, but is unable to sustain an angelic voice throughout the entire song.  In cases like that you kind of feel a bit bad for the singer because they are sincerely attempting a task, but just not able to pull it all together for an overall effort that rises above the likes of a tone-deaf fool such as myself.

The first act of the film it is very competent at creating a sense of the characters as well as developing a personality and charm to the Burpo family who live in small town Nebraska.  Todd Burpo (Greg Kinnear) is the pastor of a small church, a volunteer fireman, coach of the high school wrestling team, and runs a business selling doors.  Kinnear brings to the role a true feel of small town life, the passion of a loving father, and a true to life representation of a down to earth church leader.  Kelly Reilly plays Todd’s wife Sonja, and I do wish I had as much to say about her performance as Kinnear’s, but she, like a lot of the film was hit and miss.

The premise of the film is that four year old Colton Burpo (Connor Corum, whose acting is the embodiment of the on and off nature of the movie) nearly dies from a ruptured appendix and during his emergency surgery claims that he visited heaven and met Jesus.  I am not a father, so I could only imagine what would go through someone’s head to hear such statements coming from their young child’s mouth, especially when they were able to describe what his father and mother were doing during the medical procedure due to him leaving his body and witnessing what was happening around him.

The film spends a lot of time digging into the process and the mental and spiritual debate that Todd endures as he tries to make sense of it all.  His role as a pastor leads him to admit his confusion over everything, which does create some tensions with people in the church who would rather dismiss his son’s claims.  This dimension of the film is part of where it just not able to find the proper key and the song gets slightly cringe-worthy.  While Randall Wallace had a great grasp on establishing the personality of the depicted community, there was an erratic presentation of the more dramatic elements, a factor that in the end kept the movie from fully making any kind of emotional connection to me.  Looking back on Wallace’s We Were Soldiers I can see the same issue being struggled with.

Yesterday I wrote about Captain America: The Winter Soldier and remarked about how the directors were very smart in how they used former UFC champion Georges St-Pierre.  A great director is able to highlight the abilities of the talent they are working with and find ways to escape the short comings of the actors by manipulating their scenes and roles appropriately, and this was something that Wallace lacked during this movie.  There were very definable moments in the film where the mark was missed (such as an off key singing performance by Kelly Reilly), and it felt like if those instances were able to be reworked or left out it could have gone a long way in improving the film.

Of course, it would be no surprise or spoiler that all ends well in the film.  That is just part and parcel to the genre.  Because of the up and down success of the second and third act, it left me with very little investment in how everything unfolds, but in the theatre I was in I was probably in the minority.  The audience really showed appreciation, but even my wife (who liked it a lot) instantly remarked how it was very one dimensional, a summarization that fits perfectly so I must credit her for it.  It never became as heavy handed as some Christian movies, but it also missed out on its chances to really dig into the struggle and doubt that Todd Burpo was dealing with.

That poor person singing on the stage… missing the notes, but being sincere and having a good heart.  They try honestly, so it would just be mean to really be harsh with criticism, but the reality is there; it just was not what it should have been.  Heaven is for Real is not an awful film, it just suffers from being inconsistent enough to not ever become a good film.

Rating – 2.5 out of 4 stars