A Real Pain

Director: Jesse Eisenberg
Starring: Jesse Eisenberg, Kieran Culkin, Will Sharpe, Jennifer Grey, Kurt Egyiawan, Liza Sadovoy, Daniel Oreskes, Ellora Torchia
Running Time: 90 min.
Rating: R

★★★ (out of ★★★★)     

Writer/director Jesse Eisenberg's A Real Pain is an exasperating but insightful 90 minutes that replicates the unpleasantness of traveling with someone who pushes your patience to the breaking point. Those who've found it impossible to get on the same page as a relative should undoubtedly empathize with its anxious protagonist, who both loves and resents a cousin whose unpredictable behavior unnerves everyone he encounters. It's the most time they've spent together in years, but the depressing circumstances surrounding their reunion make family bonding an impossibility.

While the anguish both characters experience pales in comparison to the historically unimaginable suffering they'll hear about on this trip, one of them struggles in ways familiar to anyone who feels like crawling under the table when his type of personality enters a room. With no guide on how to handle him or meaningful methods for managing the fallout, a small handful of supporting players strap in and endure a deluge of uncomfortable, cringeworthy outbursts. Neither character winds up in a significantly better place by journey's end, but tiny breakthroughs occur, bolstered by a pleasantly mismatched screen pairing and Kieran Culkin's outstanding performance.    

David Kaplan (Eisenberg) and his cousin Benji (Culkin) are preparing to embark on a trip from New York City to Poland to visit the childhood home of their late Jewish grandmother and further explore their heritage. The nervous and introverted David already misses his wife and young son, but has a detailed itinerary prepared before meeting rambunctious, free-spirited Benji at the airport. They clash almost immediately, with Benji's irritating, oversized personality disorienting an already uptight David. 

Once arriving in Poland, the pair join a Holocaust tour group led by mild mannered British guide James (Will Sharpe) and comprising of recent divorcée Marcia (Jennifer Grey), retired couple Mark (Daniel Oreskes) and Diane (Liza Sadovoy) and Rwandan genocide survivor Eloge (Kurt Egyiawan). But as Benji's obnoxious antics grow inappropriate enough to affect the rest of the group, David's forced to confront his complicated feelings toward him head on.

At first, David tries to be tolerant and accommodating of Benji's various quirks since they're taking this pilgrimage to honor a beloved ancestor, sharing memories from when they were younger and closer. But it doesn't take long to realize they've since drifted apart, with hints dropped that Benji's battling some serious inner demons. And yet, Culkin still manages to create this alternately compelling portrait of a fun, charismatic guy who lights up every room he enters, at least until his worst instincts take over. 

Whether the hyper sensitive Benji is roping the group into posing for an awkward photo, criticizing the tour guide, or in one memorable sequence, flipping out with guilt over the privileges they're enjoying on this trip, there's no denying he'll occasionally bring up valid points. It's how and when he expresses those that's the problem, as David walks on eggshells dreading what will set his cousin off next.

The film's best scene comes when David finally snaps, unloading his true thoughts about Benji and his own insecurities to the group, cementing suspicions about their shared history in the process. At its core, the film is entirely about Benji's fragile mental health, even while Eisenberg delicately juxtaposes that with comedic elements and the anticipatory dread of touring a Nazi concentration camp.

You could imagine an alternate version of A Real Pain that more closely resembles a slapstick farce, with straight man David struggling to maintain sanity and composure in the face of his annoying cousin's outrageous antics. But Eisenberg knows how and when to dial it back, investing his script with a thoughtful restraint that recalls another road trip movie in which he starred, 2015's greatly underappreciated The End of the Tour. This lacks that same spark, but even in sharing similarities with other indie comedies about quirky characters searching for enlightenment, Eisenberg navigates a simple, introspective premise with humor and dignity.

Oscar Predictions

Let me preface these by saying that I want to be wrong when it comes to the categories of Picture and Actor. With any luck this is just me being overly pessimistic, hoping for the best but planning for the worst. Hopefully I fall to the floor in shock when Tom Hanks or Jack Nicholson or whoever it is this year opens the envelope announcing The Social Network as Best Picture while Fincher, Sorkin, Eisenberg and company storm the stage to collect what's theirs. But as I've previously stated, it's fine if that doesn't occur and for all my complaints about The Academy Awards at least they'll never be The Grammys. Even when the Academy's actual selections are questionable, it's always an intelligent (if sometimes boring) adult-oriented show that at least attempts to nominate and reward quality work. I'd rather they go in this direction and come off as stuffy, pretentious snobs than sell-out and nominate the latest Twilight movie or Justin Beiber's concert film. And consider it a relief the show's producers sensibly reach for ratings with their choices of hosts and presenters, figuring out ways to freshen up the telecast each year, while at least trying to fix what doesn't work. With that in mind...  

Best Picture

"127 Hours"
"Black Swan"

"The Fighter"
"Inception"
"The Kids Are All Right"
"The King's Speech"
"The Social Network"
"Toy Story 3"
"True Grit"
"Winter's Bone"

Analysis: The Social Network is inspiring also. When it ended I couldn't wait to overcome the odds and start my own web site, screw my friends out of millions (no, BILLIONS) of dollars, train to compete in rowing races and awkwardly offend every female I come in contact with. In all seriousness, that's exactly what most voters were thinking when they marked their ballots...for The King's Speech. Of course, the big joke there is that The Social Network was never meant to be inspiring, at least in the way that more conventional drama is. And for the record, I didn't think The King's Speech was really that inspiring at all and I was more moved (not superficially inspired) by The Social Network. But hey, that's just me. Should something crazy happen The Fighter and Black Swan would be next in line, and in that order. Outside of that, no other film stands a chance, especially not The Kids Are All Right and Winter's Bone, and not even Inception or True Grit.  It's a two-horse race, with a Social Network victory still very possible, though unlikely. Expect The King's Speech to be joining Dances With Wolves, Crash, Slumdog Millionaire and The Hurt Locker in the $5 DVD bin shortly. None are bad films, only undeserving of going down in the annals of film history as one of the best. The Social Network is. Plus, it's actually fun to watch. What more could you ask for?

Will Win: How Green Was My Valle...I mean, The King's Speech
Should Win: Give me a break. 
Could Win: Please!  
Snubbed: Nothing really. Everyone will always have a different list of what they felt the ten best films of the year were. All things considered, they did a respectable job not leaving anything out.

Best Director

Darren Aronofsky, "Black Swan"
David Fincher, "The Social Network"
Tom Hooper, "The King's Speech"
David O. Russell, "The Fighter"
Joel and Ethan Coen, "True Grit"

Tom Hooper seems like a nice enough guy, which is why it would be a shame if he had to bare the burden of possibly being one of the most undeserving Best Director Oscar recipients in history. It's bad enough he could beat Fincher, but throw in Aronofsky, Russell and the Coens and it almost makes you glad Chistopher Nolan wasn't nominated just so he doesn't have to experience the embarrassment. But I'm cautiously hopeful that won't happen. The King's Speech was well directed for sure but anyone claiming it couldn't have been directed as well (or much better) by Hooper's competitors, or more than a dozen other random filmmakers, need their head examined and I think the Academy will see that. Fincher has a better chance at winning this than his movie does of winning Best Picture, but unfortunately not by much. I think he'll pull it out though. More than any other recent year, this one presents the greatest chance of there being a split between Picture and Director. If that happens I'll take it since anything would be better than The King's Speech dominating every category all night long. One request: If Fincher loses just please let it be to Aronofsky, the only filmmaker close to being in his league and deserving on the grounds of being able to squeeze such a high quality performance out of Portman.

Will Win: FINCHER
Should Win: FINCHER
Could Win: Tom Hopper
Snubbed: Christopher Nolan (Inception)

Best Actor

Javier Bardem, "Biutiful"
Jeff Bridges, "True Grit"
Jesse Eisenberg, "The Social Network"
Colin Firth, "The King's Speech"
James Franco, "127 Hours"

Analysis: I'm not exactly sure what planet we're on where Colin Firth is being trumpeted as being long "overdue" for an Oscar. Firth could probably get in line with about 50 award-less actors and wouldn't be at the front. He's a superb actor, but it's difficult to envision anyone thinking him not possessing a gold statue is a horrifying injustice that needs to be corrected immediately. But this is the Academy and sometimes there's just no rhyme or reason to what they do. You could say his win is really a make-up for an even better performance he gave last year that was snubbed in A Single Man, which not enough people saw for him to be rewarded. So, Eisenberg never really had a chance here as it was decided in voters' minds Firth would win before his film was even released or they saw his performance. The controversy surrounding how "true-to-life" his unlikable Mark Zuckerberg is won't help either. Plus, Firth brilliantly plays a character with a handicap who overcomes the odds. So go ahead and just hand him the Oscar right now. It's a great performance, but Eisenberg's is better, if not so much for what he does chooses to do, but what he doesn't. He'll lose due entirely to politics, as is often the case with these races. Bardem, Bridges and Franco-- thanks for coming. And given how busy Franco's been lately an Oscar would probably just be an unneeded distraction.

Will Win: Colin Firth
Should Win: Jesse Eisenberg
Could win: Jesse Eisenberg
Snubbed: I don't know. DiCaprio maybe? Clooney? Gosling?  Not exactly a banner year in this category.

Best Actress

Annette Bening, "The Kids Are All Right"
Nicole Kidman, "Rabbit Hole"
Jennifer Lawrence, "Winter's Bone"
Natalie Portman, "Black Swan"
Michelle Williams, "Blue Valentine"

So, let's talk about Portman. In my review of Black Swan I was really hard on her. Probably too hard, especially considering I loved the film and her performance, which lived up to all the hype and then some. My criticism of her as actress does actually come from a positive place. I just feel she never fully delivered on the promise she showed as a child in films like The Professional and Beautiful Girls in the early '90s. I expected a great career that never really materialized and its place came Star Wars prequels and other suspect choices with middle-of-the-road performances, so that's probably much of the basis for my disappointment. That said, me basically saying the movie is about her being a bad actress (she isn't) or comparing this to Sandra Bullock's victory last year (which I actually didn't have a huge problem with anyway) was a bit unfair. This work is clearly more substantial and her career trajectory far less embarrassing. And, believe it or not, no complaints from me that she's starring in movies like No Strings Attached and Thor because I always thought her biggest problem was that she needed to loosen up and try different roles like that. There's no question she deserves this, which is really saying something considering her competitors in this category, especially Lawrence who was incredible. Haven't seen Kidman or Williams yet but just knowing their previous work as actresses it wouldn't surprise me if either (or both) gave a better performance than Natalie. But they have no shot. This should be a lock, but prepare yourself just in case. No matter how ridiculous the character she played was, Bening is the only one here capable of matching Portman in a popularity contest, plus she's "overdue" (there's that word again).


Will Win: Natalie Portman
Should Win: Natalie Portman
Could Win: Annette Bening
Snubbed: Emma Stone (Easy A)

Best Supporting Actor

Christian Bale, "The Fighter"
John Hawkes,"Winter's Bone"
Jeremy Renner, "The Town"
Mark Ruffalo, "The Kids Are All Right"
Geoffrey Rush, "The King's Speech"

Analysis: In a category sometimes prone to upsets we have two frontrunners battling it out. The result of this will likely tell the tale of just how much momentum The King's Speech has because if longtime Academy favorite Geoffrey Rush can upset Bale here it could mean very bad news for The Social Network. It would signal early that the film will sweep clean across the board, possibly even adding Supporting Actress to its awards haul for the night. Just the fact that Rush even got in here with a nod and Andrew Garfield didn't is revealing (and alarming) enough in itself so that endorsement has to be factored in when trying to call a winner. But at least Rush is in the right category this time as opposed to 1996 when he won a Lead Actor Oscar for what was arguably a supporting performance in Shine. Now is probably a good time to mention that I haven't seen The Fighter, but we all know anyway the smart money's on Bale who underwent another astonishing physical transformation, this time dropping an alarming amount of weight to play crack addict/former boxer Dicky Eklund. Having won the Globe and the SAG already it's unlikely (though not impossible) that he'd lose. As great as it would be for Dustin from Eastbound and Down and Lennon from Lost to win an Oscar, I don't see it happening (this year at least) for the awesome John Hawkes, who would probably split my vote with Renner, whose performance is actually better than it's been getting credit for. But their nominations are reward enough, especially considering all the deserving actors left out. Someone who is actually overdue, Mark Ruffalo, finally gets nominated for something, but the role's just too lightweight to make an impact in this race.

Will Win: Christian Bale

Should Win: Having not yet seen Bale's performance, and based on what I've seen, I'd probably say Hawkes. 
Could Win: Geoffrey Rush (and it wouldn't be much of an upset either)
Snubbed: ANDREW GARFIELD- How is he not nominated? (The Social Network), Armie Hammer (The Social Network), Justin Timberlake (The Social Network), Vincent Cassel (Black Swan)

Best Supporting Actress

Amy Adams, "The Fighter"
Helena Bonham Carter, "The King's Speech"
Melissa Leo, "The Fighter"
Hailee Steinfeld, "True Grit"
Jacki Weaver, "Animal Kingdom"

The only category where literally ANYONE can win. It's like this every year, or at least since Marisa Tomei's 1991 win for My Cousin Vinny. For whatever reason this race always seems to be full of drama and excitement, usually commencing in gasps of shock and awe in the auditorium when the winning name is read. This year is no exception as Melissa Leo was thought to have this thing all wrapped up until she went rogue, taking out some controversial Oscar campaign ads for herself. Yes they're kind of silly and the timing wasn't the best but if voters actually hold this against her they need a reality check because their job is to judge the performance on screen. Plus, what choice is she left with when the studio refuses to promote her? There aren't exactly lots of golden opportunities out there for character actresses pushing fifty so if anything she should at least be commended for putting herself out there. If this stunt ends up costing her (and it could), Hailee Steinfeld will be the spoiler, but confusion over why a lead performance is being placed in a supporting category could kill her chances outright. Of the nominees, Leo's co-star Amy Adams is an underdog but many still feel she gave the better performance. That the undeserving Bonham-Carter even made it in (and sadly has a great chance of winning) is a credit to only how ridiculously overpraised The King's Speech is. Jacki Weaver was tremendous as a motherly sociopath in the gripping, underseen Australian crime thriller Animal Kingdom, if only enough voters knew about the performance and the film. But even she still has a very good shot here. This one's wide open.

Will Win: Melissa Leo
Should Win: Pass...until I see all the nominees 
Could Win: Hailee Steinfeld 
Snubbed: Rooney Mara (The Social Network), Marion Cotillard (Inception), Mila Kunis (Black Swan) Greta Gerwig (Greenberg), Olivia Williams (The Ghost Writer), Chloe Grace Moretz (Kick-Ass)


OTHER CATEGORIES (WINNERS IN BOLD)

Best Animated Feature

"How to Train Your Dragon"
"The Illusionist"
"Toy Story 3"

Best Foreign-Language Film


"Biutiful" (Mexico)
"Dogtooth" (Greece)
"In a Better World" (Denmark)
"Incendies" (Canada)
"Outside the Law" (Algeria)

Best Original Screenplay

"Another Year," written by Mike Leigh
"The Fighter," written by Scott Silver, Paul Tamasy and Eric Johnson. Story by Keith Dorrington, Paul Tamasy and Eric Johnson
"Inception," written by Christopher Nolan
"The Kids Are All Right," written by Lisa Cholodenko and Stuart Blumberg
"The King's Speech," screenplay by David Seidler

Best Adapted Screenplay

"127 Hours," screenplay by Danny Boyle and Simon Beaufoy
"The Social Network," screenplay by Aaron Sorkin
"Toy Story 3," screenplay by Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich
"True Grit," written for the screen by Joel and Ethan Coen
"Winter's Bone," adapted for the screen by Debra Granik and Anne Rosellini

Best Original Score

"How to Train Your Dragon," John Powell
"Inception," Hans Zimmer
"The King's Speech," Alexandre Desplat
"127 Hours," A.R. Rahman
"The Social Network," Trent Reznor and Atticus Ross

Best Original Song

"Coming Home" from "Country Strong," music and lyrics by Tom Douglas, Troy Verges and Hillary Lindsey
"I See the Light" from "Tangled," music by Alan Menken, lyrics by Glenn Slater
"If I Rise" from "127 Hours," music by A.R. Rahman and lyrics by Dido and Rollo Armstrong
"We Belong Together" from "Toy Story 3," music and lyrics by Randy Newman

Art direction

"Alice in Wonderland," production design: Robert Stromberg; set decoration: Karen O'Hara
"Harry Potter and the Deathly Hallows -- Part 1," production design: Stuart Craig; set decoration: Stephenie McMillan
"Inception" production design: Guy Hendrix Dyas; set decoration: Larry Dias and Doug Mowat
"The King's Speech" production design: Eve Stewart; set decoration: Judy Farr
"True Grit" production design: Jess Gonchor; set decoration: Nancy Haigh

Cinematography

"Black Swan," Matthew Libatique
"Inception," Wally Pfister
"The King's Speech," Danny Cohen
"The Social Network," Jeff Cronenweth
"True Grit," Roger Deakins

Costume design

"Alice in Wonderland," Colleen Atwood
"I Am Love," Antonella Cannarozzi
"The King's Speech," Jenny Beavan
"The Tempest," Sandy Powell
"True Grit" Mary Zophres

Best Documentary (feature)


"Exit Through the Gift Shop," Banksy and Jaimie D'Cruz
"Gasland," Josh Fox and Trish Adlesic
"Inside Job," Charles Ferguson and Audrey Marrs
"Restrepo," Tim Hetherington and Sebastian Junger
"Waste Land," Lucy Walker and Angus Aynsley

Best Documentary (short subject)

"Killing in the Name," nominees to be determined
"Poster Girl," nominees to be determined
"Strangers No More," Karen Goodman and Kirk Simon
"Sun Come Up," Jennifer Redfearn and Tim Metzger
"The Warriors of Qiugang," Ruby Yang and Thomas Lennon

Film editing

"Black Swan," Andrew Weisblum
"The Fighter," Pamela Martin
"The King's Speech," Tariq Anwar
"127 Hours," Jon Harris
"The Social Network," Angus Wall and Kirk Baxter

Makeup

"Barney's Version," Adrien Morot
"The Way Back," Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
"The Wolfman," Rick Baker and Dave Elsey

Best short film (animated)


"Day and Night," Teddy Newton
"The Gruffalo," Jakob Schuh and Max Lang
"Let's Pollute," Geefwee Boedoe
"The Lost Thing," Shaun Tan and Andrew Ruhemann
"Madagascar, carnet de voyage," Bastien Dubois

Best short film (live action)

"The Confession," Tanel Toom
"The Crush," Michael Creagh
"God of Love," Luke Matheny
"Na We We," Ivan Goldschmidt
"Wish 143," Ian Barnes and Samantha Waite

Sound editing

"Inception," Richard King
"Toy Story 3," Tom Myers and Michael Silvers
"Tron: Legacy," Gwendolyn Yates Whittle and Addison Teague
"True Grit," Skip Lievsay and Craig Berkey
"Unstoppable," Mark P. Stoeckinger

Sound mixing

"Inception," Lora Hirschberg, Gary A. Rizzo and Ed Novick
"The King's Speech," Paul Hamblin, Martin Jensen and John Midgley
"Salt," Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
"The Social Network," Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
"True Grit," Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland

Visual effects

"Alice in Wonderland," Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
"Harry Potter and the Deathly Hallows -- Part 1," Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
"Hereafter," Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell
"Inception," Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
"Iron Man 2," Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick

Five Favorite Scenes: The Social Network

As I keep digging into The Social Network Blu-ray (so how about that weird packaging and the brilliantly bizarre title menu?) I've come to the conclusion that if it wins Best Picture that's great, but if it doesn't, well then, that's fine too. The Academy has impressively avoided rewarding the most deserving film for the past 83 years so why start now? No validation is necessary here because this is far and away, hands down the best film of this past year or any other recent one and nothing even comes remotely close. Oscar or not. It's best just to celebrate the achievement on its own terms and remind oneself that Driving Miss Daisy won Best Picture. See? That feels better already. As we all know, losing might actually be the best thing for it. For all the controversy surrounding the truthfulness of the movie I think it says a lot about Time's "Person of the Year" Mark Zuckerberg for publicly being a good sport and taking this bullet like a man for the sake of his company. Aaron Sorkin's script loosely incorporates real facts into a semi-fictional work so damning it makes Oliver Stone's W. look like a tribute documentary and it wouldn't have taken but a phone call to his lawyers for Zuckerberg to stop this project altogether (or at least prevented the use of his name and Facebook's trademarks). But he didn't. Give him credit for being seemingly one of the few to actually grasp this is meant for entertainment. He had to be slandered and dragged through the mud for the film to work as well as it does.

Back in October, I attempted a somewhat objective assessment of the film knowing my time to rant and rave about its greatness would get here soon enough. So now it's here. Director David Fincher has gone on the record humbly insisting his film isn't as "important" as Zodiac and if we're going strictly by their topics, he's right.  Only movies are rarely about their actual topics. Such is the case with The Social Network, a film no one said could be made, based on a topic no one wanted to see explored on screen. The level of difficulty here was insurmountable. I'd say in terms of actual execution this feels more important than anything he's done so far. So, how did Sorkin and Fincher ever make a movie about Facebook? Well, for starters, they didn't. Ranked in non-chronological order below are my five favorite scenes/moments in the film, along with accompanying thoughts. Obviously, SPOILERS follow.

5. MEET SEAN PARKER 

This brief, but memorable scene toward the middle portion of the picture when the action moves to the West Coast marks the first onscreen appearance of Justin Timberlake as Napster founder Sean Parker. It also marks the first instance of applause erupting from the theater I saw it in (the second: the reveal of Mark Zuckerberg's "Ardsley Athletics" T-Shirt). Has there ever been a better character introduction? If I could pick one scene that exemplifies the strength of Sorkin's writing it would probably be this brief sequence. Even over the "Did I adequately answer your condescending question?" lawsuit deposition scenes. A strange statement, but I just love the way this whole exchange unfolds and doesn't take the predictable route you'd expect given the situation.

It's reasonable that Parker would know every little detail about Amy (Dakota Johnson) from Stanford because he's Sean Parker and he does his research. So there's a glimpse of actual common sense in a movie script. Yet somehow Sorkin writes the scene in such a way that she still seems right in step with him and doesn't come across as an airhead for not knowing who he is, or worse, just a slutty party girl who woke up as his latest conquest. Of course, he finds out about "Thefacebook" through someone else, which is typical, and sets the stage for his leech-like behavior later as a charismatic opportunist who sees his opening and takes it. It's easy to see how Zuckerberg fell under his spell and bought what he was selling and why the purely idealistic Eduardo would hate his guts. The more times I watch the film the better Timberlake's performance seems, dropping subtle clues that the likable but flawed Parker was destined all along to make that pathetic police station phone call to Zuckerberg at the end of the film because that's what always happens with him. We get our first glimpse of that here.

4. HARVARD CODE OF CONDUCT

One of the film's more exciting, overlooked aspects was being given full access to Harvard University without really being given access to Harvard, a setting we've really never seen fully exploited on screen before (let's not count 2001's Harvard Man). Fincher changes that, miraculously giving us a very specific sense of time and place without ever even filming at the actual location (Fincher was forced to use Wheelock College as a stand-in) and it's a feeling especially present in the opening campus scenes. The two self-professed "gentlemen of Harvard" who best exemplify this world and our preconceived notions of it are Cameron and Tyler Winklevoss, twin rowers who find their idea for a campus social networking site hijacked by Mark Zuckerberg. Supposedly the real twins were thrilled at their depiction in the film, which is hilarious on too many levels to list. Then again, everything involving the Winklevi is hilarious as played by Armie Hammer in the best depiction of preppy entitlement ever put to screen.

I like how Sorkin doesn't write them as villains or bullies, but hard-working guys who had an idea that really could have been stolen out from under them. And they've got a strong case, which leads to their meeting with clueless, hysterically patronizing Harvard President Larry Summers (Douglas Urbanski) in which they futilely attempt to convince him that Zuckerberg's in violation of Harvard's student "Code of Conduct." Their allegations sound as ridiculous to him as the idea of making a movie about them seemed to us. You could compile another separate list of the twins' greatest moments ("I'm 6'5, 220 and there's two of me!") but this scene best exemplifies how the actor immerses himself in two very different and distinct personalities. As dark and nasty as the film gets at times, Hammer insures that it's also a comedy.

3. RICH MAN

Leave it up to Fincher to somehow find the one Beatles song that hasn't been played out. In a career packed with memorable musical moments he always seems to pick just the right song and put it in the perfect place for maximum effect, but he outdoes himself here. You could argue that with Reznor and Ross' haunting score the entire picture is a musical moment unto itself (their brilliantly twisted version of "In The Hall of the Mountain King" during the twins' Henley Royal Regatta rowing race is obviously one of many highlights) but what else but the under-appreciated 1967 Beatles B-Side "Baby, You're A Rich Man" could possibly wrap up the conundrum that is Mark Zuckerberg, or at least the fictional version of him presented here.

The "likability" of the character, and his obsessive desire to be popular, is something that's returned to many times as we get the unofficial closer to his conversation with Erica at the bar, except this time in a conference room with attorney Marylin Delpy (Rashida Jones, getting to deliver that unforgettable final line).  He might end up as a billionaire but this Zuckerberg never cared about money at all which might be his only link to the real-life counterpart, making the ending song choice especially ironic. Sitting alone at the computer, pathetically refreshing the page to see if Erica accepts his friend request is also the least pathetic and most understandable choice Zuckerberg makes in the film, confirming the trace of humanity we suspected he had throughout.

2. THE BAR 

Supposedly, Fincher filmed 99 takes of this opening scene in the bar to knock all the acting out the two actors, which kind of makes sense when you consider they're delivering Sorkin's dialogue. Anyone who watched The West Wing or any of his other TV or film projects knows how wordy it is and how fast it needs to come out. If it it doesn't it can really sound like someone's reading from a script, which you obviously never want. The best thing about Eisenberg's performance is how he almost invisibly implies on his face all these emotions that his character seems incapable of even expressing to anyone.

As Erica, Rooney Mara has an even tougher job here, having to sell that she would even like and date this guy to begin with, then by the end of a single 8 minute conversation be believably fed up enough with his arrogant antics to just walk. She knows his game and won't stand for it, making all the misogynistic accusations leveled against the picture seem ridiculous, especially considering the women always seem much smarter than the guys throughout the film (save Eduardo's psycho girlfriend). With minimal screen time Mara makes us believe that letting Erica go is a mistake Zuckerberg won't ever be able to live down. When we get to the final scene the big revelation isn't that he built a billion dollar company to impress her, but that he believes giving it all up for another chance would be worth it. The scariest part: He's right.


1. EDUARDO SAVERIN'S MELTDOWN

Oh, that "Facebook movie." So cold, cynical, detached and unemotional. Such unlikable characters. Speaks to the mind, not the heart. No one has any FEELINGS. And that's only the second biggest misconception about the film. The biggest is one that Fincher's addressed in many interviews and involves the perception of the picture as some kind of cinematic landmark that speaks to a generation (one that ironically refused to support the movie and probably cost it a few Oscars). I expressed my own doubts on that when I reviewed it and see his point since it usually takes decades to make such a determine any film's value as a cultural touchstone. It also burdens the movie with added pressure it doesn't even need because it's important enough just as what it is: A perfectly directed, written and acted coming-of-age drama about the destruction of a friendship. And it all builds to this. 

Eduardo enters Facebook headquarters a boy but walks out a man after realizing he had the screws put to him by his best friend And in a movie packed with endlessly quotable lines, the criminally un-nominated Andrew Garfield gets to deliver its best to Timberlake's befuddled Parker, a verbal blow anyone caught in a volatile confrontation wished they could come up with in the heat of the moment. After being used and stepped on (though it's a credit to Garfield's performance it never exactly seems that way) Eduardo finally learns the hard way how to stand up for himself becoming the emotional center of what's otherwise been described as the most unemotional of films. He's our way in. Even though its characters talk endlessly, the film wisely holds a lot back in terms of what they're actually thinking and feeling until here, why is why this breaking point moment registers as powerfully as it does.

Images: DVD Beaver

The Social Network

Director: David Fincher
Starring: Jessie Eisenberg, Andrew Garfield, Justin Timberlake, Rooney Mara, Armie Hammer, Max Minghella, Brenda Song, Rashida Jones
Running Time: 121 min.
Rating: PG-13

★★★★ (out of ★★★★)

SPOILERS FOLLOW 


“You are going to go through life thinking girls don’t like you because you’re a nerd. I can tell you from the bottom of my heart that that’s not true. It’ll be because you’re an asshole.”  


David Fincher's The Social Network doesn't waste any time. It gets down to business right away and if you thought going in this would just be "The Facebook Movie" it takes only until the end of the verbally explosive opening scene to change your mind. In it, future Facebook CEO Mark Zuckerberg (Jesse Eisenberg) gets dumped by his girlfriend Erica Albright (Rooney Mara) after she tires of putting up with his obsession with gaining entry into Harvard's "final clubs" because they'll lead to a better life. They talk and talk, firing Emmy-winning writer Aaron Sorkin's dialogue at and over each other at machine gun speed in a crowded, dimly lit bar with the conversation becoming more contentious as he turns sarcastic and condescending. At first, she almost seems interested, almost amused, until it becomes obvious this is someone without a clue how to interact with people, and as shocked as he is at being dumped, we are at how he got a date with her in the first place. Then comes that blistering quote above. That question of whether Zuckerberg really is an asshole never completely goes away. And if he is, does that preclude him from being a genius? Or a visionary? Or maybe he's just lucky. We don't get what resembles an answer until the final scene but it's the aftershock of the opening one that reverberates through the rest of the picture.

That night, the brutal break-up sends Zuckerberg sprinting back to his dorm room to drunkenly blog about Erica and with the help of his best (and only) friend, Eduardo Saverin (Andrew Garfield), create a stir with a server-crashing page called "FaceMash," a "Hot or Not" type application where guys get to rate and compare the physical attractiveness of females on campus. With that the idea of Facebook is planted and one of the elements I appreciated most in Sorkin's screenplay is its full acknowledgment that Zuckerberg didn't exactly invent the light bulb here, but expanded on what was already being implemented shoddily by Friendster and MySpace. It's all in the execution, much of which revolves around the added ingredient of "exclusivity," or the notion that people want to feel as if they're in on something cool. That's what the other social networking sites were missing and once it's incorporated into what was then known as "THE Facebook" the possibilities became endless, as did the pitfalls. Ironically, Zuckerberg provides the perceived social acceptance for people online he could never receive himself on campus until meeting the Winklevoss Twins (Armie Hammer), crew team jocks who recruit him as programmer for their new relationship-based "Harvard Connection" web site emerging (coincidentally or not) just as Zuckerberg launches his.

The story is mostly told through flashbacks and interspersed with courtroom depositions from the two lawsuits eventually brought against Zuckerberg by the twins claiming intellectual property theft and from co-founder Saverin, who's cut out of his piece of the pie by his best friend as the company expands. The wedge driving them apart is Napster founder Sean Parker (Justin Timberlake), a hard partying hype machine looking to latch on to the next big thing after lawsuits from the music industry bled him dry. What's so funny is as the company grows bigger and bigger the further removed it becomes from the original conceit of re-creating the social experience of college online. With expansion comes at least some degree of exclusivity lost and you're left wondering whether the whole thing really would have been better off confined to campuses, since Facebook, as we know it now, has inadvertently come closer to re-creating the social experience of high school more than college. More importantly, we're also left wondering whether Zuckerberg would have been better off since the "better life" he wished for himself didn't necessarily include being the CEO of a billion dollar company. Money isn't the primary motivator for someone who shows up to courtroom depositions wearing jeans and Adidas flip-flops.

Jesse Eisenberg wasn't just the best choice for Zuckerberg, but the only actor who could have possibly done justice to the role, giving his most complex performance yet and one that should finally end those annoying and unjustified Michael Cera comparisons. Having already occupied one end of the spectrum with awkward portrayals of sensitive nerds who win the girl at the end, he leaves the nerd part intact, but removes nearly every other emotion. His trademark accessibility as a performer is muted, offering the character up as a damaged, rejected soul so frustrated at his social incompetence (which borders on Asperger's) and obsessed with fitting in that he uses the only weapon he has: His I.Q. Surprisingly, Timberlake's performance as opportunistic party animal Sean Parker isn't the strongest among the major supporting players but it's important to put that in perspective since he still steals every scene he's in. At first glance he appears to be playing an exaggerated version of himself but his work grows on you and the more you think back on it the more you have to love the irony of music's biggest superstar giving inspirational speeches extolling the virtues of internet piracy and file sharing.

British actor (and future Spider-Man) Andrew Garfield, steals the movie out from under everyone as Eduardo Saverin, the company's CFO who's betrayed by his best friend. We anticipate a smooth, cool operator in full control but Garfield conveys a certain vulnerability and wimpiness that suggests he's being taken for a ride and used as Zuckerberg's doormat, yet he still manages to find a way to make him not come off as a fool. He earns the most sympathy and while still not totally blameless emerges as the biggest victim no matter how many different sides of the story seem to be presented. It's his story as much as Zuckerberg's and you should probably get familiar with his laptop smashing meltdown at Facebook headquarters as you'll likely be seeing many clips of it over the next few months.

As twin rowers Cameron and Tyler Winklevoss (AKA the "Winklevii"), Armie Hammer, aided by Fincher's impressive Benjamin Button-level technology, creates two separate and unique personalities, identical only in never knowing how it feels to not get what they want, as Zuckerberg puts it. Consider how unlikable they could have been and appreciate how Hammer prevents that, to the point that you actually kind of feel bad for these privileged kids and want to take their side, if only because no one else will. With just two and a half scenes and under five minutes of screen time, Rooney Mara is unforgettably devastating as the catalyst of this social earthquake and it'll be a while before I forget that look on Erica's face when she realizes how Zuckerberg humiliated her. Facebook was about a girl, which makes perfect sense since everything always is. Speculation can now start as to whether she's real, fictitious or maybe resides in that gray area in between. 

Watching the deposition scenes and seeing each character's point of view gives us no better understanding of the truth since all that can be said for sure is that each character believes completely what they're saying. Similarly, you're left to watch and wonder how much if any of Sorkin's script (adapted in part from those depositions and Ben Mezrich's non-fiction novel, The Accidental Billionaires) can be considered a reliable interpretation of real-life events. Supposedly, the real Zuckerberg hasn't seen the film but has gone on record stating it's fictional and meant to be fun.  And on that count he's right, especially anything involving the twins and Zuckerberg's hilariously sarcastic "testimony."  Whether he's viewed it or not, or whether he actually means that or not, he may have unintentionally hit the nail on the head in terms of the right approach to take with this. And there are definitely worse things than being an important enough American figure to warrant a picture of this quality.

With Fincher and Sorkin involved I knew this wouldn't actually be ABOUT Facebook, but it's still amazing just how little it is about it and how much is accomplished with what looked on paper to be the most laughable of topics for a feature film. We should have known not to doubt them when we first hear Trent Reznor and Atticus Ross' unforgettably unnerving and moody score and see just how dark and gloomy everything looks, confirming that the director who made Fight Club and Zodiac most definitely made this. And as challenging as it should have been to maneuveur around a subject that potentially deals with a lot of talking and sitting around at computers and boardrooms, it's surprising the number of scenes that consist of that, and how tension-filled and exciting they are. 

Comparisons are being made to Citizen Kane, but in all fairness those stem mostly from narrative and thematic similarities, which are plentiful. Like Kane, Zuckerberg gets lonelier and more isolated as he rises to the top, except he manages to spread his loneliness to everyone else. We're all now as socially disconnected as he is, while strangely somehow feeling more connected, at least on some superficial level. Yet there's something admirable and anti-heroic about the character because he set out to achieve a goal and did it the only way he knew how.

How you enter The Social Network is a big determining factor as to how you'll feel when you leave, mainly because of that mysterious phenomenon known as "HYPE," a force capable of cutting down any film, regardless of quality. It seems for a change I was actually able to keep my insanely high expectations mostly in check, resulting in them being exceeded. And as difficult as it's been, I've been careful to contain my praise knowing plenty of opportunities should arise for me to gush about it further in the coming months. It'll be interesting to find out how a film so timely and dependent on current technology will age, but I bet if you showed it to an audience ten years ago and told them this is the direction we're headed, their eyes probably would have popped out of their heads.

It's entirely too early to determine whether it "speaks to a generation" but it definitely speaks to the moment and there is a feeling that its story of greed, loneliness and betrayal has a fighting chance at outlasting the social phenomenon that spawned it. Despite not caring much for Facebook, I'd never suggest the story behind it doesn't deserve to be told, especially when it's constructed as brilliantly as this. The Social Network makes the strongest case yet for Facebook's existence, being that we couldn't have gotten this film without it.

Solitary Man

Directors: Brian Koppelman and David Levien
Starring: Michael Douglas, Mary-Louise Parker, Jenna Fischer, Jesse Eisenberg, Imogen Poots, Susan Sarandon, Danny DeVito, Olivia Thirlby
Running Time: 90 min.
Rating: R

★★★ (out of ★★★★)

It's almost impossible to watch the dark comedy, Solitary Man without viewing it as a biographical account of star Michael Douglas' life, or at least what the public has been led to believe his life is, regardless of whether that assumption is true. You may as well as well title the movie, This is Your Life, Michael Douglas since the events that occur in it bear such an eerie resemblance to past and current headlines surrounding the actor. But focusing exclusively on that would be ignoring the fact that he's long been one of our most under-appreciated actors, only further proving it here with his best performance in years.

In kind of a cross between his slick tycoon Gordon Gekko in Wall Street and disheveled literary failure Grady Tripp in Wonder Boys, this might be his slimiest role yet, as a good portion of the movie is a creep fest featuring Douglas' character engaging in behavior that will be off-putting (to say the least) for viewers. The film's main asset is not shying away from that by presenting an unflinching story about a man with a serious problem that won't go away until he wants it to. While it's a small-scale, modest achievement that doesn't do anything special, it doesn't need to because the lead refuses to plead for sympathy with his portrayal and the filmmakers surround him with an all-star cast, while balancing some tricky material.

Douglas is formerly successful car dealer Ben Kalmen, whose life took a turn for the worse after finding out he could have a heart ailment, made questionable business decisions that lost him his fortune and romantic indiscretions led to the collapse of his marriage to wife Nancy (Susan Sarandon). Now, six years later, he's still feeling the repercussions, as his daughter Susan (Jenna Fischer) wants nothing to do with him until he starts acting his age and stops chasing younger women. Ben's rare shot at selflessness comes when he's roped into accompanying his girlfriend Jordan's (Mary Louise Parker) 18-year-old daughter Allyson (Imogen Poots) on a college interview at his alma mater where he was an important financial donor. Instead, his behavior escalates to even more embarrassing levels on the trip, resulting in a one-night stand with Allyson that might be the creepiest hook-up this side of Lolita. Even his misguided attempts to mentor shy, nerdy student Daniel (played by Jesse Eisenberg) go haywire and the campus visit somehow finds Ben in worse shape than when he left. At a crossroads, he has to decide which direction he'll go.

Playing an aging lothario is nothing new for Douglas but most of the big studio movies he stars in lack the self-awareness he has in playing it, which hurts him as an actor by falsely perpetuating the unfair myth that it's the only part he's capable of playing. Writer (and Co-Director) Brian Koppelman's script share that awareness, fully acknowledging a 60-year-old man scouring a college campus for some action is not okay and extremely creepy. And so does every character except Ben. It always seems that smaller, more character driven films like this are better suited to tap into Douglas' overlooked strengths as a performer, playing a man who's coasts on his charm until it completely runs its course. Faced with his own mortality, Ben chooses not to face it and act out in humiliating ways, yet the actor still manages to make Ben charming and likable enough to root for despite all his character faults.

The film returns Douglas to the academic setting that resulted in his greatest performance a decade ago, but this time under very different circumstances and as half of what should be a dream team pairing with Eisenberg. Just the idea of Douglas prowling dormitory halls with Eisenberg while giving him unsolicited advice on how to pick up girls is alone worth the price of a DVD rental. Had their scenes together comprised the entire movie I wouldn't have complained, but it's just a small part of a bigger picture. The ads and trailers practically imply a buddy comedy with the two but Eisenberg's role, while mildly important, is essentially a thinly drawn cameo variation on his sensitive, geeky characters from Adventureland and Zombieland, but in a lower key. The supporting star is British actress Imogen Poots (what a name), who in addition to flawlessly pulling off an American accent, navigates a tough, complex role in Allyson, the quasi-love interest of Ben who's conniving and damaged enough to meet him at his level even though she's young enough to be his granddaughter. The cast is loaded with familiar faces fighting for screen time but all are incorporated well and make big impressions with what they're given, especially Mary Louise Parker as Ben's scorned girlfriend and Olivia Thirlby who appears late in the film as Daniel's love interest. There's also a nice sub-plot with Danny DeVito, who plays an old college buddy of Ben's, which takes on an extra layer when you consider Douglas' real-life friendship with the actor.

As obvious as it is to point out, the movie's title couldn't be more appropriate for a story centering on a protagonist who's become an island unto himself, pushing away anyone willing to help. Thankfully, the script stays consistent to the end, avoiding any kind of force-fed redemption or easy resolution that would feel like an unearned cheat or betrayal of the film's themes. Outside of Douglas' performance, it doesn't stand out from other efforts in this genre, coming off as neither memorable nor completely forgettable, but it intelligently deals with a lot of issues that had to hit close to home for him, and us. Calling Solitary Man a small character piece may seem condescending, if that wasn't exactly what it is. It's a well written drama about real people struggling with real problems, and it never hurts to see more of those.

Zombieland

Director: Ruben Fleischer
Starring: Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin, Amber Heard
Running Time: 81 min.
Rating: R

★★★ 1/2 (out of ★★★★)

Filmmakers never really know for sure how well they've cast a movie until it's up there on the screen. They have a script and maybe even certain actors in mind for specific parts but once the camera starts rolling there's no telling what will happen. The apocalyptic comedy Zombieland is an example of the best possible scenario, where special chemistry exists between the actors that couldn't occur if even just one of those performers were replaced. On paper, it appears to be a solid line-up of four talents, but nothing that would have you thinking they've assembled a "dream team." But it is. This wouldn't work as well as it does without their complete commitment to making these characters ones we enjoy getting to know and hang with.

Tempting as it is to give them all the credit for how fun this is, doing that would overlook how adept director Ruben Fleischer's debut feature is at re-energizing a familiar concept with fresh, innovative ideas. Working from a smartly conceived script from Paul Wernick and Rhett Reese he takes one type of movie that's been beaten into the ground (the zombie film) and adds another that's been equally played out (the post-apocalyptic adventure), but only by adding the third (the road trip comedy) do the special qualities in all of them start to really shine through. It's a toss-up determining whether this comedy is more fun for viewers or the actors starring in it, including one celebrity who has the cameo of the year, if not the decade. Given how smart the entire film is it's no surprise that this usually reclusive actor would agree to appear in it and boy does he ever make the most of the ten minutes he's on screen, turning an already wild time into one of the most enjoyable cinematic experiences all year.

The movie opens in a post-apocalyptic zombie-plagued America with nerdy college student Columbus (Jesse Eisenberg) on his way home to Columbus, Ohio to find out if his parents are still alive. As a loner with many phobias and no friends who spent his Friday nights guzzling "Code Red" Mountain Dew and playing World of Warcraft, Columbus has always played it safe. It's that approach and a list of rules he's come up with that helps him survive the zombie attacks that have claimed everyone else. After losing his car along the way he hitches a ride with Tallahassee (Woody Harrelson), an unhinged lunatic hell bent on finding Twinkies and willing to kill any zombie in sight to get them. Then the odd pairing really meet their toughest competition in con-artists Wichita (Emma Stone) and Little Rock (Abigail Breslin), a pair of sisters determined to make it to the supposedly zombie-free "Pacific Playland" amusement park in Los Angeles.

The movie is so smart in how it creates this desolate, zombie-ridden world right from the awesome opening Metallica title sequence and Columbus' rules for surviving the wasteland known as "Zombieland, U.S.A." What's so impressive about these rules is that they're not only funny, but they actually make sense (i.e. RULE #1-CARDIO) and propel the story forward in a meaningful way. When adherence to a rule by any character occurs during the course of the film title cards pop up in inventive ways in the background letting us know. The use of voice-over narration and flashbacks in a zombie comedy is practically unheard of but it's incorporated perfectly as both effectively convey the bumbling, neurotic Columbus' insecurities and give us a valuable background information on the zombie plague. One flashback featuring a brief, but extremely memorable Amber Heard appearance just might be the most exciting sequence in the film. But even that pales in comparison to the big celebrity cameo that isn't exactly a well kept secret.

Even though many other reviews have given it away and it's practically public knowledge at this point I won't spoil this legendary actor's identity on the off chance of pissing anyone off who wants to completely remain in the dark. But I will say that the more I think about this actor's appearance the more I realize what a genius choice it was to have him appear and how no one else would have had the same effect. He certainly isn't the biggest name and from what I heard wasn't even the first choice to do this, but because he's a celebrity that we imagine would be the most fun to meet, we can share in the characters' excitement of seeing him for ten minutes in the type of comedic part we wish he'd take again. And what's so surprising is that this part ends up being that of himself...or at least how audiences have long perceived him to be like in real life. The cameo is brilliant in its self-awareness and the final line he gets off put me in a state of pain from laughter. We're even treated to him spoofing one of his most famous roles in a film I was unsure I wanted to see a sequel of. After this, now I'm sure. I want a sequel to it. Some directors waste big name, talented actors for over two hours but here Fleischer has this one for only ten minutes and milks every last second of those for maximum entertainment value.

He may not be the lead, but it's Harrelson who's the star, being given the opportunity to cut loose and go completely bad-ass in ways hasn't been able to do since the days of Natural Born Killers and Kingpin. The role fits him like a glove and only a good actor could have played it because as the story wears on he's called upon to give the character of Tallahassee real purpose beyond just finding his favorite snack cakes, which isn't easy when you also have to go over-the-top as a crazy man also. When I say none of these actors could be replaced in their roles I'm specifically referring to the inevitable, but groundless accusation that Jesse Eisenberg is always playing a poor man's Michael Cera. It's a silly theory that somehow gained traction based on nothing. I'll admit I had my doubts about Eisenberg at first but now it's getting to the point where the string of quality films are too numerous to just write it off as him lucking out and stumbling onto good scripts. While it's true he's played the same "type" of character in a lot of these outings (and isn't asked to stretch much more than that again here) there's an underlying dramatic sincerity to all of his performances that make his characters relatable and realistic. This movie feels as much like a coming-of-age movie as a zombie comedy or a wild road trip and makes an interesting companion piece to his other amusement park movie, the under-appreciated Adventureland. Just the sight of how uncomfortably nervous he looks killing zombies is worth the price of admission.

Those only familiar with smokey-eyed Emma Stone as the hottie in Superbad will be surprised to discover she makes Wichita a lot more than that and proves to be a really talented comedic actress with great sarcastic timing. As Little Rock, Abigail Breslin makes a seamless transition from child star into pre-teen actress, delivering some of the movie's best punch-lines. The interplay between all the actors feels so natural it's a shock this is the first time they've teamed up and I'd be very surprised if these four performers don't really enjoy what they're doing. It just comes across in every scene. As the film neared its conclusion, just the possibility you won't get to see them together anymore is kind of dejecting. The ending showdown at Pacific Playland is exciting and unpredictable because there really is some doubt as to whether everyone will survive. Besides providing non-stop laughs, the movie succeeds in the effects department as well and never uses the fact it's a comedy to wimp out in delivering just the right amount of violence and gore. It earns its "R" rating.

This is the highest grossing zombie movie of all-time and deserves to be. Supposedly, there's already a sequel in the works that's set to be filmed in 3-D. While I'm not thrilled with that idea (is every movie going 3-D now?) I can at least understand the logic behind using that format in this instance and would probably be willing to see ten sequels with these actors onscreen again together. They're that good. There are many more places they can take take the story and characters in Zombieland and I'm looking forward to the ride. Consider it illegal to have this much fun watching a comedy.

Adventureland

Director: Greg Mottola
Starring: Jesse Eisenberg, Kristen Stewart, Ryan Reynolds, Martin Starr, Bill Hader, Kristen Wiig, Margarita Levieva, Matt Bush
Running Time: 107 min.
Rating: R

★★★ 1/2 (out of ★★★★)

What a year for coming-of-age films this is turning into. It's infrequent that I see two movies in a row that are so similar thematically and manage to strike the same chord. Both Adventureland and (500) Days of Summer were both misrepresented as fluffy comedies, the former more severely. Both deal with a transforming summer relationship. In each, music is a major component. And both focus their gaze on a twenty-something male protagonist wrestling with post-grad blues, invoking recollections (one very literally) of The Graduate. 2009, which was feared to be heading down the same underwhelming path as '08, has turned some kind of a corner recently and it's been fun to watch the reaction. I've yet to see all the films triggering this widespread enthusiasm but at least now I can scratch another off the must-see list and report it met expectations.

Greg Motttola's Adventureland received mostly mixed reviews when it opened in April and didn't connect with audiences who mistakenly went in expecting another Judd Apatow-style comedy in a year when even Apatow didn't feel like making a Judd Apatow-style comedy. We had I Love You, Man to fill that niche, which it did quite well. Unfortunately, when you splash the words, "FROM THE DIRECTOR OF SUPERBAD" across a film's poster, certain expectations will accompany it, all of which Adventureland couldn't have delivered on because it just isn't that kind of movie. But those who had actually seen and liked it didn't just merely like it. They LOVED it. No matter what it was marketed as, it was clear that it really spoke to them in a big way, piquing my interest in it further. This is a drama with very few huge laughs and you'll enjoy it best if you prepare yourself for that before tackling it. What it does expertly instead is succeed at invoking a very specific time period, mood and atmosphere that makes it easy to see how it's connected with a vocal minority of viewers on the level it has. In avoiding many of the pitfalls that plague this genre and choosing to go a more subtly intelligent route, the film definitely deserved much more attention than it was paid.

It's 1987 and recent Oberlin College graduate James Brennan (Jessie Eisenberg) is looking forward to touring Europe for the summer before attending Columbia University grad school to study journalism in the fall. That is until his parents (Wendie Malik and Jack Gilpin) break the news that they can't subsidize him and he'll have to put his dreams of going to Europe on hold to instead spend the summer working in his hometown of Pittsburgh. He lands a gig at Adventureland, the local amusement park run by an eccentric married couple (SNL's Bill Hader and Kristen Wiig), that employs a wide variety of interesting, colorful characters.Despite his desire to work on RIDES, James is incorrectly sized up by management as a GAMES guy. Or as his t-shirt reads, GAMES GAMES GAMES GAMES. In a just world where audiences actually went to see this movie, millions of those shirts could have been sold. The awkward, intellectual James immediately befriends the even geekier and more awkward Joel (Martin Starr) and despite still nursing a broken heart from college, starts to develops serious feelings for the captivating Em (Kristen Stewart). Besides wrestling with a troubled home life, she's been having a fling with the park's married maintenance man, Connell (Ryan Reynolds), a former musician whose claims to have jammed with Lou Reed are dubious. Things are complicated further for James with the return of seductive rides operator Lisa P. (Margarita Levieva), a Madonna clone who transfixes all the guys at the park. Whether he likes it or not, his worst summer ever is on a path to become the best and most memorable of his life.

Adventureland is the kind of movie likely to dredge up a lot of memories (some painful) for those who watch it. What laughter there is comes from the situations where you can stop and say, "Yeah, I've been there." And even if you haven't been there, it kind of feels like you were anyway. Unlike (500) Days of Summer, it doesn't go for the jugular in its depiction of romantic relationships and is more sentimental, unapologetically drenching itself in nostalgia. It also fits into one of my favorite movie sub-genres: Cool workplaces. Think Clerks or Empire Records. I've always found it compelling to watch people who would have never otherwise met be thrown together by chance in a job only to end up forging a lasting friendship. James is lucky enough to get that experience but his post-grad struggles before taking this seemingly lame, dead-end job. are shown realistically by Mottola and reverberate with personal sentiment. The cold, hard fact that college can't possibly prepare you for life is thrown in James' face when the comparative literature major is simultaneously over-qualified AND under-qualified for every menial job for which he applies. James is too introspective, too observant, and too sensitive for his own good. In a way, his sincerity is his own worst enemy and he needs something or someone to break him in. His relationship with Em provides that.

Eisenberg (who first impressed in 2005's The Squid and the Whale) has been criticized for giving performances too reminiscent of Michael Cera in their awkwardness. While I'm sure Cera would be flattered (offended?) by the notion that he actually has a "style" of acting that can be imitated, his persona didn't consciously occur to me at all as I watched Eisenberg. Cera is more sarcastic, which perfectly fits a raucous film like Superbad, but would be ill-suited for more dramatic material like this. It's insane to assert the two actors are interchangeable. What Eisenberg does bring to it is a subtly grounded approach, thankfully choosing not to play James as some kind of stuttering, stammering dork incapable of social interaction. As cliche as it's becoming to see the geek get the girl in every major comedy released these days, thanks to him it at least comes off more bearable than usual.

Strangely though, the movie's success doesn't begin and end with him. This is a rare occasion where the female love interest is being presented pitch-perfectly both in terms of writing and performance and ends up being the more fully realized character. What's most refreshing is that there isn't a phony, insincere bone in Em's body and she doesn't play games. She's given a difficult home situation but the card isn't overplayed and we feel bad for her because she's essentially a good soul who just doesn't know it yet. You can see what James sees in her, and Stewart conveys everything Em's going through with little more than a glance in a revelatory supporting performance.It's a shame she's sabotaging her career by starring in big-budget projects beneath her as I'd like to believe she can recover and continue to do meaningful work like she did in Panic Room and Into the Wild. It would be awful if despite her contribution, the film ages poorly merely because of her star presence in it. The last thing anyone wants to do is remember this as the amusement park movie with "that girl from Twilight." Her and the film deserve better. While the idea of Ryan Reynolds' character getting it on with Stewart's, who looks (and probably is) about half his age, is pretty creepy, the challenging sub-plot is pulled off in an effective, mostly non-creepy way, which is a real credit to the two actors. They make us view it as the mistake that it is and they know it to be as well. When Connell finds out about James' feelings for Em his reaction isn't what you'd expect. He isn't a jerk, just a decent guy with an ego struggling through some issues, an important distinction that would go missing in a lesser script and performance. It's a relatively small part for Reynolds, but it's his most complex to date and he finds a lot of truth in it.

Anyone who says '80's music is discreetly slid into the picture must have been watching a different film than me. Hardly a single scene goes by where key music of the era isn't blasting, whether it be Lou Reed, INXS, Falco, Expose, Husker Du, The Replacements, Crowded House and just for old times sake, The Velvet Underground. It's overkill but I didn't mind since song-for-song it's the best soundtrack to come along in a while. Beyond perfectly capturing the era in terms of music and dress, this joins movies like Donnie Darko and Son of Rambow in not only harnessing the feel of the '80's, but feeling like it was made during that period. Terry Stacey's cinematography and Yo La Tengo's score only reinforces that atmosphere. What laughs there are come from the painful truths of growing up more than anything else, while the rest are filled in by Hader and Wiig, (who are crazy but reined in) and James' former childhood friend Tommy Frigo (Matt Bush), who remains in a perpetual state of adolescence. The one character who didn't really work for me was Lisa P., who seemed more a walking stereotype for the decade and a plot marker than an actual human being.

This is an optimistic film coming-of-age-film that understands life can be filled with disappointment and darkness but every once in a while something really incredible happens and you just want stop time and hold onto it for as long as possible. It operates with the knowledge that life can suck sometimes and you'll still survive, but doesn't condescend in any way or succumb to cheap sentimentality (aside from a closing scene that reeks of pure fantasy to the point it feels like a dream sequence). I'm not entirely sure how you can even market movies like this, which is a shame, because coming-of-age films can be the most rewarding of all genres when presented well. Why it's even rated "R" or wasn't given a more advantageous summer release date are valid questions. In a way it reminds me of Judd Apatow's the short-lived TV masterpiece, Freaks and Geeks, which also managed to perfectly capture a mood and time period not too far off from this one. This movie will hit hardest for those who were teenagers in the '80's but everyone else will probably find a lot to appreciate also. Mottola really put himself on the line. It would have been easy money to follow Superbad with another vulgar comedy but he instead chose to tell a story that clearly meant a lot to him. This is one movie I wouldn't mind seeing a sequel of since I cared about these characters and would want to know what they're up to now. It isn't good for anyone when a quality film like Adventureland flops because too many people already think no one cares about their story or what they have to say. The last thing they need is another excuse to not share it.