Jay Kelly

Director: Noah Baumbach
Starring: George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Grace Edwards, Stacy Keach, Jim Broadbent, Patrick Wilson, Eve Hewson, Greta Gerwig, Charlie Rowe, Louis Partridge, Alba Rohrwacher, Josh Hamilton, Emily Mortimer, Thaddea Graham, Sadie Sandler, Isla Fisher
Running Time: 132 min.
Rating: R

★★★ (out of ★★★★)    

In Jay Kelly, George Clooney plays a charismatic, enormously successful 60-year-old movie star aging into the latter phase of his career. And while the film could write itself in terms of how closely it reflects the star's own life and public image, that irony isn't lost on Noah Baumbach, who doesn't always go for the easy laughs. Surprisingly subdued and introspective, it's more traditional than we've come to expect from a director known for his acidic, off kilter takes on relationships. This feels more like a high minded Hollywood dramedy from an earlier era, which is fitting for a protagonist who's spent his whole life in front of the camera. 

If accolades and worldwide fame suggest the title character has it made, a realization suddenly hits him that this isn't the case, at least on a personal level. Surrounded by dedicated handlers, fellow celebrities and fawning fans, he lives in a manufactured reality, even as strained relationships with his two daughters become a harsh reminder of just how lonely he is. Taken on its own terms, the story's lightweight in spots and nothing extraordinary, but a talented cast and sharp writing manage to get it over the finish line. As does the inspired pairing of Clooney and Adam Sandler, with the latter again proving his range when handed material that plays to his overlooked strengths. 

When beleaguered film actor Jay Kelly (Clooney) finds out his college-aged daughter Daisy (Grace Edwards) has chosen to travel through Europe with friends rather than spend time with him, he tells longtime manager Ron Sukenick (Sandler) he's agreed to accept the career tribute award in Tuscany he previously turned down. Hoping to blow off a big movie shoot and surprise Daisy overseas, a series of crises occur before he leaves, including the sudden death of former director and mentor Peter Schneider (Jim Broadbent) and an unexpected encounter with old acting school buddy Tim Galligan (Billy Crudup).  

All this dredges up emotional baggage for Jay as he tries to connect with his school teacher daughter Jessica (Riley Keogh), who still resents his absence during childhood. Meanwhile, a stressed Ron unravels at the realization he's Jay's lackey, serving at the actor's beckoned call without so much as a hint of gratitude or acknowledgment. It's a harsh truth cynical publicist Liz (Laura Dern) knows well, as she attempts to convince Ron this is the job he signed up for. But with Jay growing increasingly selfish, the trip forces him to confront the fact he has no idea who he is outside this sheltered cocoon of massive fame.

Movies about the movie business and those inhabiting it tend to invoke more groans and eye rolls than just about any other sub-genre. Viewed as egotistical navel gazing by most mainstream audiences, it's hard not to cringe when hearing how miserable wealthy, privileged Hollywood types are with their lives. And while there's an element of that here, those vehemently opposed to the topic would probably stay clear anyway so it doesn't make much of a difference. Luckily, Baumbach avoids this pitfall thanks to the work of Clooney and Sandler, who share the screen for the first time in their careers to better than expected results. 

At many points, Jay comes across as a big baby in need of constant coddling by an entourage who love the guy, but find him insufferably egocentric. The script really earns its stripes when exploring why, like during Jay's uncomfortable encounter with his an ex-friend who fell short of his full potential. Compellingly played by Crudup, there's more to this story than it appears, as their impromptu reunion deteriorates when a few drinks are consumed and the real truth comes out, little of which reflects well on Jay. 

Cleverly conceived flashbacks provide Jay's present self a front row seat to regrets and bittersweet memories that, for better or worse, brought him to where he's now at, painting a portrait of young ambition at any cost. This device is particularly effective in depicting the rift between him and eldest daughter Jessica, who begrudgingly accepts the fact he isn't changing and her life will move on, with or without him in it. You could argue Keogh registers the film's most grounded supporting performance, aided by a realistic sub-plot that sidesteps the silliness occasionally present elsewhere. 

Some of that nonsense is provided by Laura Dern's publicist character, who has a mind boggling mini-arc with Sandler's Ron that should have been left on the cutting room floor. And while inexplicably sidelining talents like Greta Gerwig, Emily Mortimer and Isla Fisher is certainly a choice, Clooney and Sandler's intentionally unbalanced dynamic helps cover for it. 

Unfailingly loyal and eager to please, Ron operates under a sadly misplaced hope Jay views him as a friend. But his star client's unwillingness to compromise is the final straw for the put-upon manager, who's already in the process of losing his other client (played by Patrick Wilson). Sandler effectively conveys Ron's evolution throughout, arriving at this place of clarity he hopes his boss will eventually catch up to. For his part, Jay does clumsily try to bond with Daisy on the trip and even invites his own ornery father (a rambunctious Stacy Keach) along, whose behavior goes a long way in explaining Jay's issues.      

Clooney creates an intersection where fiction and reality collide for those envisioning how things would play out if the actor himself boarded a train full of adoring fans. In that respect, the film invokes comparisons to Nic Cage's similarly meta, The Unbearable Weight of Massive Talent, only as a character study rather than a high concept action comedy. It's especially evident in the final scene's tribute reel, which seamlessly incorporates Clooney's career into the film's narrative for a heart tugging conclusion.

The ending also sadly shows how much of Jay's life is defined by his screen persona, as a string of inciting events cause his mistakes to come back and haunt him. With this, Baumbach transforms a somewhat conventional premise about a celebrity's mid-life crisis into a modern day spin on A Christmas Carol. When confronted by ghosts of decades past, the movie star faces failures and missed opportunities, with Clooney flipping the charm on and off as only he can.         

The Great Gatsby

Director: Baz Luhrmann
Starring: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Jason Clarke, Elizabeth Debicki, Amitabh Bachchan, Jack Thompson, Adelaide Clemens
Running Time: 142 min.
Rating: PG-13

★★★ ½ (out of ★★★★)

The pressure and expectations that accompany adapting a classic novel for the big screen can be overwhelming. Unless, of course, it was already poorly adapted. Such is the case with F. Scott Fitzgerald's The Great Gatsby, which already spawned a 1974 version starring Robert Redford and Mia Farrow lifeless enough to double as an insomnia cure. One thing you can't call Baz Luhrmann's 2013 take is "lifeless," but considering he's the director of Romeo + Juliet and Moulin Rouge, we could have easily guessed that going in. My reasoning for including it in the runners-up section of the year's most anticipated films had less to do with the fact that I suspected it would be any good (though the potential was there) and more to do with it's potential as an entertaining train wreck with some memorable performances. He specializes in those, each resulting in varying degrees of creative success.

The big surprise is that this is far from a train wreck. It isn't crazy. It's a faithful, respectful re-telling of the original story that fulfills most of the expectations associated with our idea of the quintessential adaptation. In fact, the craziest thing about it is the title character, or rather the mesmerizing, off-kilter, over-the-top performance given by the actor playing him. And yet it feels right in this context. Not only does the movie look tremendous, but the story is absorbing and heartbreaking, working in tandem with the visuals to create a surprisingly rich and rewarding movie experience. Audiences loved it while critics were more mixed, but I'm siding with the former. There's an uncertain first hour, and a bit too much narration for my taste, but the payoff is sensational. Simply put, it's a great film that deserves a spot in the upper echelon of recent cinematic literary adaptations.

In just about the only change from the novel, Yale University grad, World War I vet and failed writer Nick Carraway (Tobey Maguire) pens his story in a sanatorium where he's being treated for alcoholism. It was the summer of 1922 when he moved from the Mid West to New York to take a job selling bonds and taking up residence in West Egg, Long Island. His neighbor is the elusive, enigmatic Jay Gatsby (Leonardo DiCaprio), a mysterious millionaire who throws lavish parties at his extravagant mansion. Confused by his recent invitation to one and taken aback by Gatsby's sudden interest in him, it soon becomes clear to Nick that his true interest is really in his cousin, Daisy Buchanan (Carey Mulligan), with whom he had a love affair five years prior. He's only thrown these parties with the hope she'd one day show up. Nick reconnects them, with the only problem being that she's married to philandering, brutish polo champion Tom Buchanan (Joel Edgerton). He's determined to unravel the mystery of Gatsby before it's too late and he loses his wife for good.

The biggest fear I had approaching this was that Luhrmann would use Fitzgerald's novel as a launching pad for a feature length music video or a rough outline for contemporizing it without having to face the backlash of actually contemporizing it. I fully expected this would primarily be a visual feast, with characters served up as appetizers to sell soundtracks. As it turns out, neither comes to pass. While the parties are a crazy visual spectacle employing elaborate use of CGI, over-the-top sets, quick cuts, and contemporary music, it's not a distraction and dovetails surprisingly well with the time period and story. If anything, it's more restrained than we were led to believe from the trailers, and while Jay-Z provides the score and Lana Del Ray an original song, nothing necessarily calls attention to that or takes us out of the period setting. Those concerns are only further squashed when we meet Gatsby, the buildup of which is given the satisfying mystery it deserves, proving that the story does really come first here. The slow, steady introduction of the mysterious Gatsby amongst rumors he's a spy and other far out rumors regarding his past, is the film's ace in the hole. And it's a credit to the script and DiCaprio's charismatic performance that those mysteries never feel fully disclosed even when they eventually are.

The film doesn't really begin until Gatby shows up and he knows how to make an entrance. DiCaprio just owns this from his very first scene, using the character's playboy persona to mask his massive insecurity. The brilliance in his portrayal comes when he subtly gives signs that he may not necessarily be in love with Daisy as much as he's obsessed with holding on to her and the past. That he's been throwing these lavish parties for years with only the hope she'll eventually show is almost proof enough. And when Gatsby eventually starts to crack, we still side with him because he remains so likable and relatable despite the extravagant lifestyle he leads. DiCaprio makes it easy for us to understand how, given his background and personality, the character would behave like this.

At first, Gatsby's using Nick to get to Daisy but the irony ends up being that the bond that forms between the two men might be the only real connection that's forged in the story. Nick's using him too, realizing his cousin is his free pass into a privileged world he may not have otherwise had access to. But because both are so honest and upfront about their intentions a true friendship is eventually formed and it's only toward the end, when all the leaches sucking off Gatsby's wealth have abandoned him, that we realize it's likely Nick was the only friend he's ever had.

Maguire makes for the perfect Nick Carraway since the actor's biggest selling qualities have always been his naivete and wide-eyed amazement at what's happening around him. He's the ideal vessel for the audience in that he's the rare reliable narrator who actually does seem reliable. We believe every word he's saying, even if one of the script's few flaws is that he's probably given too many of them, as the characters' actions are more than suitable in carrying the load. It had to help that DiCaprio and Maguire are in reality very good friends, and it's a credit to them that viewers would probably be able to guess that watching them interact on screen together.

Those expecting Carey Mulligan to make for an unforgettable Daisy should probably consider that the character has always been kind of a cipher or blank slate for Gatsby to project all of his obsessions onto. Even in the book that seemed to be her very specific function so there's really only so much an actress can do with that and Mulligan delivers exactly what's asked of her, but little more. Daisy isn't exactly a woman of agency but it's easy to imagine other rumored candidates for the role like Natalie Portman and Scarlett Johansson having a much rougher time with it than Mulligan, who possesses a certain type of innocence onscreen that they rarely convey.

Stealing most scenes is newcomer Elizabeth Debicki, who as golf pro and potential Nick love interest, Jordan Baker, nails the period look, manner and way of speaking to the extent that she not only draws attention to herself, but shines the spotlight on her castmates as well. Joel Edgerton gains a surprising amount of empathy for the brutish Tom Buchanan, as his third act verbal showdown with DiCaprio ends up being one of the film's strongest sequences. Rounding out the cast is Isla Fisher as Tom's mistress Myrtle and Jason Clarke as husband George, whose residence in the industrial "valley of ashes," is sensationally visualized by Luhrmann, even incorporating the novel's iconic paperback cover within the setting in an inventive touch.

We shouldn't look a gift horse in the mouth as this is as good an adaptation of the source material as we're going to get, or was even possible. It's almost mind boggling that the reaction has been so divisive when Luhrmann stayed so relatively true to the original text. If anything, he could have taken more creative liberties since this is almost restrained for him. But this was the right approach. How he brings it home at the end with a surprisingly emotional wallop should be proof enough that there's a lot more going on here than the impressive production and costume design and cinematography, which will still likely figure in huge during awards time. This was hard to do but Luhrmann nailed it, proving that sometimes it isn't always best to leave well enough alone. By putting a new polish on a familiar story he's succeeded in making it more accessible, while not abandoning any of the original elements that made it work.  

Definitely, Maybe

Director: Adam Brooks
Starring: Ryan Reynolds, Abigail Breslin, Rachel Weisz, Isla Fisher, Elizabeth Banks, Derek Luke, Kevin Kline
Running Time: 112 min.
Rating: PG-13

**** (out of ****)

For the past couple of weeks nearly everyone who knows my taste in movies has been telling me that I have to see Definitely, Maybe. It could be partially because they’re aware of my abnormally high tolerance for romantic comedies, or “chick flicks,” as they’re more commonly known. It could almost be described as an abusive relationship because although I enjoy watching them, I view them mostly as a joke. I almost look forward to the bad ones just for a good laugh because I find the ways that they’re bad fascinating and the reasons women love them perplexing.

So when the mostly positive reviews for Definitely, Maybe came pouring in and it was being referred to as a “chick flick for guys” I knew this could really be good for some more chuckles. What I wasn’t prepared for was that I’d have to check my jokes at the door for this one. It’s startlingly ambitious and almost epic in scope, going places other movies in this genre never do with a premise that’s brilliant and fun. Now, finally, I can recommend a “chick flick” without fear of embarrassment at all. I wouldn’t hesitate telling anyone I encounter how much love this movie.

At its center is a compelling mystery with an outcome that’s seriously in doubt and many guys watching will put themselves in the position of the protagonist and wonder what choice they would make. It’s the rare comedy that understands that sometimes we make the wrong decisions and have to live with the consequences. That life speeds by so quickly it’s often hard to catch up. That people come and go and disappear and reappear in our lives when we least expect it. Things happen. Paths cross. Timing is everything. And none of it seems forced or contrived, but develops organically from the situation.
The focus is on a protagonist who not only has an interesting love life, but an interesting life filled with people who are intelligent and we’d actually want to spend time with. Guys will see a lot of themselves in him while girls will no doubt relate to one or more of the women he’s encountered along the way. It also sees an opening to depict a time period that has been underexposed in movies and milks it for everything it’s worth. As a result, everything feels so fresh and original and the second I saw that the story was taking place in this era I nearly jumped out of my seat. For me it felt like going home again because it’s a period I feel a very close connection to. I was prepared for the possibility this might be good, but I never would have guessed I’d be this blown away. Critics and audiences have actually undersold just how much this film has to offer everyone.

38 year-old advertising executive Will Hayes (Ryan Reynolds) is going through a divorce and looks forward to the few days a week he gets to spend time with his 11 year-old daughter, Maya (Abigail Breslin). After her school implements a sex education program she starts probing her father to tell her the story of how he and her mother met and got married. After some initial reluctance he caves in, but tells the story under his terms, changing names and facts and leaving it up to Maya to guess which one of the three main women in his life becomes her mom.

There’s his college sweetheart, Emily (Elizabeth Banks) who he leaves in Wisconsin in 1992 so he can work in New York as a gopher on the Clinton Presidential campaign. While there, he meets Emily’s longtime friend, Summer (Rachel Weisz) a sexy, sophisticated journalist whose having a bizarre affair with famous writer Hampton Roth (a fantastic Kevin Kline). The final suspect is his best friend April (Isla Fisher) a free-spirited copy girl who wants to travel the globe. The film already has an intriguing premise in place but its what it does with that premise that’s so impressive. Will starts his journey as a young, idealistic go-getter determined to change the world and make his mark but the world has other plans.

There’s a certain naivety to him when he first arrives in New York and these three women not only play a huge role in changing the course of his life, but also defining who he is as a human being. The smartest thing director Adam Brooks’ script does is convince us that all three of these women could very well be “the one” for Will. A lesser screenplay would have just presented them as stereotypes, like “the brain” or “the slut” and it would have been obvious by about a half hour into the picture who he would end up with.

Too many times in today’s romantic comedies female characters are completely defined by being in a relationship with a man and can’t think or act for themselves. Here, the ups and downs in Will’s relationships with these women are partially caused by actions they took because they’re independent, strong and intelligent. But that’s not to say Will’s deluded idealism and desire to please doesn't get in the way as well.
Brooks makes it interesting for us because none of these women are the “wrong choice” for him necessarily; they’re all just very different. I’d be lying if I said there isn’t a favorite that the audience (both male and female) will naturally gravitate to and Brooks knows this and plays with it, but not in a way that feels the slightest bit manipulative. And because this is a film that actually does reflect real life for a change, we know that’s no indication that she’ll be the last woman standing.

Guys watching will have a strong opinion who the best choice is, but that doesn’t mean it’s the best choice for Will, or that he can even end up with her. Just when we think one of them is out of Will’s life for good they’re realistically pulled back in. Through masterful writing, Brooks puts the viewer in a situation where any of the three possible results would be a complete shock. This isn’t just a great setup because the pay off delivers in a huge way.

Then there’s Will’s relationship with his daughter, arguably the most important one of the film. I had gotten involved in this guy’s fascinating life that I almost completely forgot that his daughter was listening to all of this. That she had to hear all these things that he did and yet in a strange way, through these flaws, he actually looks like a better father to her. I had also completely forgotten that this story ends in divorce making the story that much more painful for this kid. What’s going to happen with that? There’s real doubt. This script is working well on so many different levels it’s almost astounding.

That’s not even mentioning the little life details it slides in, especially when it comes to the ripe, inspired setting of New York in the early ‘90’s. The city is a living, breathing character in itself informing Will’s life as much as the women in it and the Clinton era provides the perfect backdrop for his emotional virginity. As the administration wears on Will’s idealism understandably wears off and some disillusionment and cynicism sets in. The film tells us as much about our country’s mindset during this time period as it does his.
There are so many accurate and funny details concerning the early and middle part of the decade slid in I wouldn’t dare ruin them. One of the joys for me watching this was thinking back to what I was doing back then, which rather frighteningly at times resembled some things that occurred on screen (albeit at a far younger age). I’m sure I must have found this section of the film far funnier than most, but I bet more than a few would relate to it.

There's truth in the sketching of the most minor characters as well, like Kevin Kline’s drunken, pompous politico. You know that feeling when you’re watching a movie and you think, “I know someone EXACTLY like that.” Well, it's actually true this time. I can’t tell you how many people I’ve encountered just like this guy and after you’ve seen the movie and meet this character you’re probably going to feel really sorry for me. And Kline nails it, also adding considerable depth that's probably lacking from his real-life counterparts. I would have watched a separate movie about just him and his relationship with Weisz's character.

Ryan Reynolds has shown us glimpses of something recently with his work in The Nines and Smokin’ Aces, but this is the most fully realized performance of his career thus far. It isn’t the most dramatically challenging, but he seems effortlessly comfortable in it. It helps he’s an actor that doesn’t come with any preconceived notions. His Will comes off as a guy women would want to be with and guys would want to have a beer with and watch the game. He’s inoffensive and believable to every audience, a rare feat in a romantic comedy.

All three actresses are uniformly excellent in different ways. Elizabeth Banks has probably the least amount of screen time of screen time of the three but makes it count while Rachel Weisz brings an aura of sexy mystery to Summer, the woman who just may be out of Will’s league. In what seems like her millionth attempt in the past two years, Isla Fisher finally delivers in a role that requires much more than just standing there and looking pretty. I never got what the big fuss was about her as an actress, but I got it now. Reynolds shares the best chemistry with young Abigail Breslin, who gives a child performance that never seems cloying or forced and she even manages to get off many of the film’s most memorable lines.
At just under 2 hours, Definitely, Maybe could be considered long for a romantic comedy but it’s one of the few times I remember watching the clock and wanting it to slow down. I was hoping Brooks would come up with even more complications and obstacles to keep this going and prolong the mystery. I couldn’t wait to see what happens but there was another part of me didn’t want to find out. It’s a relief to finally see an ending that’s earned. This is a character went through hell and high water to arrive there and it wasn’t through the machinations of a contrived screenplay.

I’ve referred to this film many times as a “romantic comedy” but I should stop because it isn’t. It’s more of an entertaining, involving human drama with romantic and comedic elements mixed in. It would play well with fans of the television show How I Met Your Mother because it takes that high concept and expands it, bringing more depth to the premise. It’s much smarter and more involved than anyone could expect at first glance and I was surprised how much of it hit so close to home for me (unfortunately though not the part about choosing between three beautiful women).

How can I give THIS four stars? Easily because there isn’t a flaw to be found and it does what it’s trying to do perfectly in the most challenging of genres. It could have gone wrong in so many different ways but didn't. This movie isn’t going to change the world but it’s one of the best romantic comedies to come a long in recent years and with the amount I’ve seen I should know. Guys should consider themselves lucky if their girlfriends force them to watch this. Definitely, Maybe isn’t just a “chick flick,” it’s a great film.

The Lookout

Director: Scott Frank
Starring: Joseph Gordon-Levitt, Jeff Daniels, Matthew Goode, Isla Fisher, Carla Gugino, Bruce McGill
Running Time: 99 min.
Rating: R

**** (out of ****)

I wake up
I turn off the alarm
I take a shower
I get dressed
I make the coffee
I eat breakfast
I go to class

Seems like a pretty simple list, right? Now imagine struggling every day to just remember the steps. Such is the plight of the protagonist in screenwriter Scott Frank's directorial debut, The Lookout, an emotionally moving character study that doubles as a heist thriller. Comparisons have been made to Memento, but they shouldn't be. This character does not have amnesia. That would almost be too simple. He has a moderately traumatic head injury that sometimes cause him to forget things and act in ways that aren't entirely consistent with his personality, or whatever may be left of it. Unlike Memento, this film doesn't use his condition as a gimmick to give us a twisty plot full of shocks and surprises. His condition is there because it's who he has become and is something he has to deal with. The movie shows that struggle but never exploits it, even when certain characters in the movie are. It's a story about friendship, loyalty and betrayal that just so happens to involve a bank heist. Usually when good thrillers end I have many questions pertaining to the plot. Not here. When The Lookout concluded I found I instead had many questions about life, how we treat one another and our place in this world. I also had to ask myself a couple of more questions: Is Joseph Gordon-Levitt an actor even capable of giving a performance that's less than brilliant, or starring in a movie that doesn't rank among the year's best?

Levitt stars as Chris Pratt, a star high school hockey player who one night makes a terrible decision on a lonely highway road that results in the death of two friends and serious injury to himself and his girlfriend. The victim of a head injury from the crash, we join him four years later as the simplest tasks couldn't possibly be more difficult for him. What's most interesting about his condition is that looking at him he appears to be mostly functional, but his brain seems to spin in circles causing him serious short-term memory issues and an inability to properly sequence events. For instance he can drive, but must always keep an extra key in his shoe for when he inevitably locks a set in the car. Everything in his room and in the kitchen have labels and he always carries with him a small notepad he can refer back to whenever he gets stuck.

He shares an apartment with a blind man named Lewis (Jeff Daniels, sporting his Squid and the Whale beard) who despite his disability is amazingly self-sufficient, not to mention very funny. When one of the characters describes him as a blind Larry Flynt they're not too far off the mark. It's his dream to someday with open a restaurant tentatively, but hilariously named "Lew's Your Lunch." Attempting to impart some of his life skills onto Chris, he helps him deal with his disability and the friendship that exists between them is genuinely touching. Chris takes classes at the Life Skills Center of Kansas City where he practices such exercises as sequencing the events of the day, which he struggles greatly with. Things don't go much better with the case worker tracking his progress, as he can't restrain himself from blurting out sexually inappropriate comments during their sessions (which is completely understandable since she's played by Carla Gugino). In his ongoing struggle to maintain normalcy he works the night shift as a janitor at the local bank aspiring to one day become a teller despite the bank manager having little confidence in him handling money.

A few O'Douls at the local pub take the edge off and it's there where he's befriended by gang leader Gary Spargo (Matthew Goode, a very long way from Chasing Liberty). He takes him under his wing, introducing him to an alluring ex-stripper named Luvlee Lemons (Isla Fisher). They're just suckering him in. What Gary really wants is to rob the bank and he needs him to be the lookout. Gary promises him a piece of the pie and the chance to get the life he once had back. Of course we know that's impossible but Chris doesn't, or if he does, he can't admit it. We also know that no matter what happens in that bank there is no real serious risk of Chris finding himself in legal trouble because of his condition. That's not where the suspense comes from. It comes from Chris' battle to gain control of his soul and come to terms with who he's become after the accident. What happens with the heist I can't reveal, but I will say the blood-soaked final act of the film is slightly reminiscent of Fargo in that we have a Midwestern robbery spiral out of control. Frank beautifully captures the Midwestern landscape (despite the fact it was actually shot in Canada) and James Newton Howard's score, as usual, provides the perfect background.

I just reviewed Disturbia, another movie that also starts off with a life altering car crash. Like this, it goes the thriller route in the second half, but the merger of the two genres didn't seem to work, making the film seem routine. That's not the case here. This is the movie Disturbia could have been if it wanted to. When this film heads down that road it does it well and believably, not losing any of the human drama that brought us there. The two genres are mixed expertly and, if anything, the shift raises the stakes, bringing something out of the characters that was slowly burning during the course of the film. Viewers are rewarded for paying attention to the details of Chris' condition, but not in any way that feels cheap or manipulative.

Scott Frank's script doesn't contain any "big twist" regarding his memory problems, but rather gives space for the situation unfold how it really would and lets him use what he's learned to solve the problem. I loved that. When the ending does come Frank doesn't have everyone skipping into the sunset arm in arm. Everyone has problems and adversities they face in life, but they're not going to just disappear overnight. It takes some work but with small steps improvement can be made a little each day. Sometimes it's the little victories that matter most. The final scene of is as powerful a one as I've seen in any motion picture this year precisely because it doesn't try to dazzle us, but instead just fades out quietly and honestly. I have to admit I almost lost it at the end…and remember, this is a heist movie! The attention to detail in Frank's script can be seen in the most minor characters, like the local cop who stakes out the bank. Even he has an interesting story of why he's really there.

The Lookout may end up as a thriller but what this story is really about is Chris struggling to gain acceptance of who he's become. It's not often in movies a character's struggle with a physical or mental disability is treated truthfully. Here, it is. He isn't the cocky, star jock he was in the film's opening minutes before the accident. He's a different person, but ironically, a better one. He's haunted by the accident and the guilt he carries for his role in it, sitting alone at the skating rink just watching his ex-girlfriend. He dreams of finding the courage to go up to her. What should he say? Apologize? He's not sure, but he knows he has to say something. How will she react? Everything after the accident has become uncomfortable, even with his family. His own father (played by Bruce McGill) won't give him any money because he has no faith in him that he can take care of himself. A trip home is a disaster because no one knows how to talk to the "new Chris." A dinner scene wisely observes how family can sometimes say the most hurtful things without ever meaning to. A situation like this is tough and the movie doesn't patronize us by presenting a cookie cutter version of it.

Gary senses Chris is vulnerable and plays on it, but one of the neat things about the movie is we're never quite sure of Luvlee's intentions, or even if she is either. She could just be playing the game but there are hints she may really have feelings for him. That Fisher doesn't play her like your typical Femme Fatale creates even further ambiguity. Everything she knows of Chris and his reputation is pre-accident. Is she attracted to the Chris now or the Chris then? Or even interested at all? As Chris finds himself slowly being spun into Gary's web we sense we're losing him and he's losing himself. Matthew Goode, nearly unrecognizable, is a true surprise here as I'm sure anyone familiar with his previous work will be completely shocked by with his bad ass intensity. As Gary's right hand man, Bone, Greg Dunham (in his screen debut) hardly says a word but his menacing presence hangs over the picture like a ghastly specter. He's truly frightening.

The irony shouldn't be lost on anyone that Lewis, a blind man, is the only character who can see everything that's happening for exactly what it is. A scene in the kitchen where he interrogates Luvlee just crackles with tension and excitement. Beneath Lewis' sarcastic humor and off putting remarks you can tell he really cares about Chris and Daniels conveys that dimension with perfect subtly. There's a long running joke in Hollywood that quickest way to an Oscar is to play someone with a physical or mental disability. That may be true, but the sad fact is they've seen it fit over the years to honor only the most cartoonish and overblown portrayals of it.

Daniels is so restrained and detailed in his performance with two very difficult jobs on his plate: the actual physical portrayal of blindness and the creation of an engaging multi-dimensional character. It's worthy of a best supporting actor nomination. It's clear throughout the film that serious research was done on the part of Levitt and Daniels to give a real, authentic, and most importantly, honest portrait of people suffering from disabilities and working everyday to make their lives better.

Last year I called Brick one of, if not the very best, film of 2006. It starred Joseph Gordon-Levitt in a performance I also trumpeted as the best of that year. The Lookout may not be as creatively dazzling as Brick, but its story cuts deeper, it's more important thematically and Levitt's performance is better. It's a tougher role but he owns it all the way and we never get the impression this is acting at all. This really is someone who's had a traumatic head injury and is struggling to deal with its consequences. There's a quiet, restrained intensity he brings to the role I'm convinced no other actor could. He doesn't have to rely on any gimmicks or tricks and he just creates this person from the inside out.

Just few years ago Levitt (previously best known for his role as Tommy Solomon on t.v's Third Rock From The Sun and a feature co-starring role in 1999's 10 Things I Hate About You) probably wouldn't be at the top of anyone's list to emerge as this generation's most interesting and exciting actor. This proves a couple of things: First, that talent in this industry can be hiding where you least expect it. Secondly, hard work sometimes actually pays off. And it's important for actors to have a brain so they can make intelligent, informed choices when it comes to choosing roles. I know he had taken some time off from acting but when he returned it was clear something really clicked. First came Manic. Then Mysterious Skin. With last year's Brick we had to start taking notice that he could become one of our best actors. Now with The Lookout, he officially is. I can't recall an actor ever starring in two movies in a row as strong.

This film had long been a labor of love for its director Scott Frank, a screenwriter responsible for writing such films as Get Shorty, Out of Sight and Minority Report. Scott wrote the script which was tossed around in development for nearly a decade, with David Fincher originally attached to direct. It would have been interesting to see what he did with it, but I'm glad Frank ultimately decided to helm it himself. In other hands, I can't see how it possibly could have better (which is saying something since I consider Fincher the best living director). It's times like this where I'm glad I covered my ass a few weeks ago when I called Zodiac the best film of 2007 SO FAR, because this is right up there with it.

This is a film that rewards viewers with repeated viewings not because of intricacies of plot, but character. That's a rare feat for the heist genre. Most filmmakers would be thrilled to say they directed one great heist movie or one great character study in their entire career. Scott Frank did both already in his first time out, all from a screenplay he wrote and developed himself. It makes you wonder what could possibly be next for him. Whatever is, The Lookout goes down as one of the year's best, and an unforgettable experience.

Hot Rod

Director: Akiva Schaffer
Starring: Andy Samberg, Jorma Taccone, Isla Fisher, Bill Hader, Ian McShane, Sissy Spacek, Danny R. McBride, Will Arnett, Chris Parnell
Running Time: 88 minutes
Rating: PG-13

***1/2 (out of ****)

When I saw Hot Rod there were four people in the theater, including me. By the end of the movie there were only two and both of us had been on the floor laughing the entire time. I walked out thinking to myself that someone should send a copy of this film to Adam Sandler as a reminder of the kind of movies he used to make. That's not a knock on Sandler who's too old to be playing the role Andy Samberg does here and I'm glad he's stretched as an actor and made more interesting choices. But who are we kidding? Sandler was always at his most entertaining and found most of his success in stupid 90's slapstick comedies like Billy Madison and Happy Gilmore. Those were the movies that really connected with audiences and afforded him the opportunity to branch out and try different things, all of which didn't result in nearly the same kind of commercial success.

While no one wants to admit it, there's a reason why those comedies are still remembered and referenced today: because they're bad. That's right, bad. And when I say bad I mean they're so bad they're great. They fully commit to their ridiculous premise and make no apologies for what they are. They're stupid, hilarious and most important of all, they're in on the joke. Nearly every comedy since Sandler's heyday have attempted to repeat that formula and failed miserably, struggling most with that last criteria. There seems to be a disturbing trend going on lately with comedies actually taking themselves seriously, even going as far as to spread their running time over two hours and giving us plots that are actually (gasp!) somewhat complex. I'm actually glad that's happened to a certain extent, and there are some filmmakers out there doing it well, but I can't believe I'm saying this: I miss the stupidity. It's been long enough. We're due. As the quality of comedies have improved in recent years, Hollywood's forgotten about giving us a brainless good time.

How ironic that even a film produced by Sandler himself (last year's Grandma's Boy) couldn't recapture that magic and contained only minimal laughs? Now, with relatively little fanfare, comes Hot Rod, from director Akiva Schaffer and stars Andy Samberg and Jorma Taccone, known collectively as the "Lonely Island" comedy group. They met and became best friends at middle school in Berkeley and went on to achieve a cult following through their digital shorts online. This led to Saturday Night Live where they were responsible for two of the funniest sketches in that show's recent history with "Lazy Sunday" and "Dick In A Box."

This movie is much of that same humor, stretched out longer, but just as hilarious. That it's produced by SNL creator Lorne Michaels would usually guarantee failure, but this deserves to be ranked among the best films starring SNL cast members. Or at least it's definitely closer in quality to Wayne's World than Superstar or It's Pat: The Movie. That the script comes from Pam Brady, one of the writers on South Park, won't come as a surprise after you've seen it. After the final credits rolled I felt like running to the roof of the multiplex and screaming "FINALLY!" Finally, a movie that "gets it," basking in its own stupidity and fully committing all the way through. Why did they stop making comedies like this?

Samberg is Rod Kimble, an incompetent aspiring stuntman with a little bit of a problem. His stepfather, Frank (Ian McShane of tv's Deadwod) is dying of heart failure and Rod needs to somehow earn $50,000 for his transplant so he lives to be on the receiving end of an ass kicking. Yeah, you read that right. You see Frank is a cranky old man who routinely defeats his stepson in fights and has absolutely no respect for him. Rod cannot let him die without first earning that respect, a joke that pays off big later. Inspired by stories of his deceased biological father's history as a professional stuntman, Rod formulates a stunt of his own that involves jumping 15 buses.

He gathers a training crew that includes his dweebish brother Kevin (Jorma Taccone) and slacker friends Rico (Danny R. McBride) and Dave (Bill Hader). What's so funny about these characters is it's never quite clear what they do all day or even how old they are. It's seems the movie wants us to believe they're teenagers even though they look like they're pushing thirty or beyond. However, at other points part of me thinks they're actually supposed to be in their twenties. I'm not sure. Whatever the case may be I know it wouldn't have been nearly as funny if they had cast real teenagers in the roles. Also along for the ride is hot neighbor Denise (Isla Fisher) who Rod is trying (in hilariously pathetic ways) to win over, but of course she's going out with a total jerk (played by Will Arnett).

It's no mystery where this movie is going (although the ending is somewhat surprising), but the real fun is how it gets there. Sure, there are your obligatory training sequences and pratfalls but the difference here is they are actually inventive and consistently funny, with even more goofiness sandwiched in between. This is one of those movies that are knowingly winking at the audience the entire time with hallucinatory dream sequences, completely random jokes that could exist independent of the picture, bizarre cameos and inspired 80's musical montages that come out of nowhere. A particularly memorable one features possibly the only Europe song ever used in a movie that wasn't "The Final Countdown."

Schaffer has also uncovered a little trick not many directors are aware of. If you repeat a line or a visual joke for just the right amount of time it can be hilarious as long as you know when to stop. There's a fall down a mountain that starts off typically, but then it keeps going….and going. It extends just to the point where it becomes downright hilarious, then stops just in time. Many directors wouldn't have a clue when to yell "Cut!" and it would have crossed that line into annoyance. Not here. He even knows when to stop the movie, something most directors of comedies seem to have forgotten lately. It runs 88 minutes and it feels just right for the type of movie he's making and the story he's telling. It doesn't overstay its welcome. The film is also very cleverly directed visually, despite its low budget. When Rod performs a stunt late in the film we see him in the air giving the thumbs up to the crowd, then the camera pulls back to reveal…he isn't on the bike! Sorry, but that's pretty hilarious.

This movie contains more laughs than just about any comedy I've seen so far this year (yes, that includes Hot Fuzz) and there wasn't a second I can remember not laughing. It also puts the skills of nearly every performer to good use. McShane is hilarious as the step-dad from hell who's just begging for comeuppance while Sissy Spacek plays the mom completely straight, making Samberg's character look that much goofier, if that's even possible. We know exactly what Isla Fisher's role will be like as Denise: Smile and look pretty. It's true, but at least they picked an actress who is pretty and has a nice smile. She does what she's supposed to. No complaints here. Chris Parnell has a small role late in the film as an A.M. radio D.J. and has a gag involving the explanation of a tattoo that in under thirty seconds is funnier than anything he's ever done on Saturday Night Live. Listen to his color commentary during the big stunt.

If the movie has one problem it's the underutilization of Will Arnett in the role of the evil boyfriend (although he does have one great scene). Having the comedic talents of Arnett at your disposal in a film and not fully exploiting them is inexcusable and I had to shave half a star off for it. In way though, even that could be seen as a plus because the movie never takes the familiar route of this story coming down to a battle for the girl. Still, Arnett should have had more screen time because a killer supporting turn from him could have taken this movie over the top. Maybe he'll have more scenes on the unrated DVD, which could be out in stores by the time you've read this judging from the film's box office take.

For some reason this movie has drawn comparisons to Napoleon Dynamite and I have no idea why, aside from the fact they share a little of the same type of humor. While I liked Napoleon Dynamite, I do understand why some people despise it, and even those who love it have to admit it hasn't aged too well. That film, while sporadically hilarious, was full of itself and carried a false air of superiority and arrogance embodied by the behavior of the title character. That's not the case with Hot Rod. The title character may be goofy and delusional, but he isn't mean-spirited or arrogant and this movie never adapts a condescending attitude toward his behavior or the material. It's just out to have fun and it succeeds.

Originally this was supposed to be a starring vehicle for Will Ferrell, but I'm so glad it wasn't. Ferrell sometimes falls into the trap of trying too hard to get laughs, which wouldn't work here like it did in Anchorman and Talladega Nights. Samberg is perfect for this and it's a shame the movie hasn't done well because he has what it takes to translate his SNL success to the big screen and become a major comedy star, much like Ferrell and Sandler before him.

One of the things I love most is when I have the opportunity to review a movie that just sneaks up on me. I don't go in expecting much, and I come out with something so much better than I anticipated. That this brought in just over $5 million on its opening weekend and was massacred by just about every critic in the country says something. It wasn't meant for all audiences, which is how it should be. The best comedies aren't. I also don't think it's a coincidence that the two people who walked out of the theater I saw this in were a guy and his girlfriend, with her leading the charge. This is a guy's movie and some guys may not even care for this kind of humor. Let's put it this way: If you've never pondered such life altering questions as who would win a fight between a taco and a grilled cheese sandwich this movie probably isn't for you.

Just wait until this arrives on DVD and everyone suddenly discovers it. This is the kind of cult comedy that could end up playing in stoned-out students dorm rooms for the next 10 years. It deserves to go down as one of the funniest movies of 2007 and the prospect that Superbad, which opens very soon, could possibly be even funnier (and advanced word suggests it is) is frightening. I just read an interview with Andy Samberg where he said the goal he had in making Hot Rod was to recreate the comedies he and his friends grew up on, like Happy Gilmore and Billy Madison. As someone who grew up those also, I can honestly say that mission was accomplished. Mr. Sandler would be proud.