A Good Person

Director: Zach Braff
Starring: Florence Pugh, Morgan Freeman, Celeste O' Connor, Molly Shannon, Chinaza Uche, Zoe Lister-Jones, Nichelle Hines, Toby Onwumere, Ignacio Diaz-Silverio, Oli Green, Alex Wolff, Brian Rojas, Ryann Redmond, Sydney Morton
Running Time: 129 min.
Rating: R

★★★ (out of ★★★★) 

Getting past the generic title and fairly familiar premise, there's a lot that works in writer/director Zach Braff's A Good Person. While it's been nearly twenty years since Garden State polarized moviegoers,  the former Scrubs star continues to take a thrashing for it, with detractors complaining he hasn't done enough differently behind the camera to change minds or win over the uninitiated. But despite preconceived notions, Braff clearly has a lane, knows the type of film he wants to make and remains competent at it. 

Preconceived notions aside, if the temptation exists to belittle this small-scale human drama as schmaltzy or Hallmark-like, it's really no better or worse than the similarly themed A Man Called Otto, if maybe even a little less sentimental. And the biggest reason why are the performances, particularly Florence Pugh's. The movie isn't exactly be a departure, but her lead turn is, further building on all the promise she's consistently shown since first breaking through.

Just as pharmaceutical sales rep Allison Johnson (Pugh) prepares to marry to longtime boyfriend Nathan (Chinaza Uche), a tragic car accident leads to the death of his sister Molly (Nichelle Hines) and her husband Jesse (Toby Onwumere). Allison, who was driving, suffers serious injuries as a result, leading to pain pill addiction and severe depression. Now a year later, she's broken up with Nathan and living with her concerned mother, Diane (Molly Shannon). As Nathan tries to move on, he and Molly's ex-cop father Daniel (Morgan Freeman) takes in Molly's teen daughter Ryan (Celeste O'Connor), who's acting out in school and still unable to process the loss of her mom.  

A strung-out Allison panics after accidentally encountering Daniel at a therapy group, but reluctantly agrees to stay at his urging, as the two form a tentative friendship. A recovering alcoholic with a shameful past, he still blames Allison for the accident but views helping her get clean as a challenge. Unfortunately, Daniel's problems with Ryan worsen as Allison's guilt and self loathing over the crash send her spiraling out of control. Until both come to terms with past mistakes, there's little chance they'll be able to piece back together the fragments of their shattered lives.

As opioid addict Allison, a profusely sweating Pugh, complete with a moppy haircut and baggy clothes, gives a performance that deserves far more attention than it's gotten. And had it come in any project other than one with Braff's name attached, everyone would probably be raving about it. Similar to her recent work in Don't Worry Darling, she proves capable of single-handedly carrying and elevating material that wouldn't connect with lesser actresses in those roles, even overcoming a few questionable creative calls along the way. 

While this doesn't have as many problems as you'd think, we know where it's going, leaving much of the heavy lifting to Pugh and Freeman.To Braff's credit, he doesn't get much wrong and just lets the them do their thing since they're great together. And Pugh's transformation from promising, optimistic pre-crash Allison into a flailing, self-destructive mess results in some memorable scenes, like a bar encounter with a pair of high school classmates or an extremely uncomfortable trip to the pharmacy.

The closer Allison and Daniel become, the worse their respective situations seem to get, with both petrified to face their demons head-on. She's definitely responsible for the accident and pushing Nathan away, but we quickly find out Daniel wasn't exactly father of the year. Fearing he'll fall off the wagon, there's good reason to believe the rage and pain has less to do with Allison's culpability in the accident than his regretful past. It seems like years since we've seen Freeman in a major role like this and he predictably knocks it out of the park, again enveloping us with his wise, all-knowing presence, only with some slightly rougher edges this go-around. 

Some will decry it as simplistically obvious symbolism, but there's a tidy subplot involving Daniel's train set that's effective in conveying the story's theme, largely because Braff wisely picks his spots and doesn't clobber us with it. The same could be said for Allison's singing, a detail enhanced by Pugh actually being a talented singer, making the character's aspiring musical career a better fit than it otherwise would. Of course, everything leads to Allison eventually coming face-to-face with the rebellious Ryan, with the latter finally getting her chance to confront the woman who inadvertently destroyed her world.

The complicated relationship between Allison and Ryan may be what the script handles best, with Celeste O'Connor bringing a surprising amount of depth to the angry teen. An understated Chinaza Uche is equally good as Nathan, dragged back into Allison's life a year after the tragedy while also confronting long unresolved issues with his father. And Molly Shannon again stretches her comedic muscles in a drama, stealing scenes as Allison's mom, who attempts to administer tough love in the face of a maternal instinct to smother with sensitivity.

Even as the story lands on its feet, a party sequence in the last act gets a bit overwrought in a film that mostly steers clear of theatrics. It's also sort of perplexing how little attention is given to the fact that Molly's husband died in the crash too, with Jesse's existence basically shoved under the rug. Still, for all that happens, A Good Person is almost downright restrained, resulting in what could be Braff's most assured directorial outing yet. And considering how far off the rails potentially melodramatic material like this can go, that in itself warrants a small round of applause.  

Olympus Has Fallen

Director: Antoine Fuqua
Starring: Gerard Butler, Aaron Eckhart, Morgan Freeman, Angela Bassett, Rick Yune, Dylan McDermott, Finley Jacobsen, Melissa Leo, Radha Mitchell, Robert Forster, Cole Hauser, Ashley Judd 
Running Time: 120 min.
Rating: R

★★★ (out of ★★★★)

You know a movie means business when they kill off the First Lady off within the first ten minutes. That this isn't even a spoiler, but merely the inciting event kicking off the White House terrorist takeover thriller, Olympus Has Fallen, should give you an idea the kind of action spectacle we're dealing with. It's greatest attribute is that it doesn't even give audiences time to question whether this or that can happen (hint: it probably can't) or figure out logistics. North Korean terrorists descend upon Washington D.C., staging an all out assault on The White House, muscling their way through by killing as many innocent bystanders, secret service, military and law enforcement as possible. And in this PG-13 movie era where it seems everything on screen is sanitized within an inch of its life, it comes as a great relief that director Antoine Fuqua doesn't pull any punches. He doesn't give in to political correctness, showing no hesitation in depicting the "bad guys" as angry terrorists who want to blackmail and destroy us. To his credit, he knows exactly the kind of movie he wants to make and that there's justifiably very little room for subtly or nuance in it. It's fun and ridiculous in ways only the most enjoyable action movies are. 

The pawn in the North Koreans' game is President Benjamin Asher, who's played by Aaron Eckhart exactly how you'd expect the actor to play a stubborn, but heroic, tough as nails Commander in Chief. Over a year removed, he's still reeling from the tragic results of a car accident at Camp David, when his good friend and lead secret service agent Mike Banning (Gerard Butler) saved his life while failing to prevent the death of the First Lady (Ashley Judd). After being removed from the President's security detail, Mike's now working at the Treasury Department and one the film's best dialogue exchanges comes when Director of the Secret Service Lynn Jacobs (Angela Bassett) tells him that Asher knows he did the right thing but was removed because he can't stand looking at him and being reminded of that night. A good line from a fairly clever script, effectively setting the stage for much of what follows, even if you could argue what's been seen so far is interesting enough for another story in itself.

All hell breaks loose when the North Koreans descend upon Pennsylvania Ave. by air and ground, eventually shooting their way into the White House where the President and Secretary of Defense McMillan (Melissa Leo) are being held hostage in a bunker by dangerous terrorist mastermind Kang Yeonsak (Rick Yune). It's up to Banning, seemingly the last agent alive, to rescue his former boss and make sure the First Son, Connor (Finley Jacobsen) is located. Their demands involve the removal of U.S. forces from Korea as well as a plot involving the detonation of our nuclear weapons, but that's almost beside the point. This can really best be described as "Die Hard in the White House" and your enjoyment of it is directly proportional to how exciting you find that premise, as it does mostly deliver on the tagline. It's hard not to when you have Butler taking a much needed breather from rom-com nonsense to slither through the walls of the Oval Office killing unsuspecting terrorists.

It's ironically the smaller character moments provided by an impressive supporting cast that end up carrying this. Like a frighteningly believable and bloodied Melissa Leo refusing to reveal the nuclear code or reciting the pledge of allegiance as she's dragged across the floor. Morgan Freeman's known for playing calm, benevolent leaders so it's kind of unusual to see him, as Speaker of the House Allan Trumball, suddenly thrust into the Presidency without any preparation and having to think on his feet. He and Army Chief of Staff Clegg (played by the great Robert Forster) are Banning's only lifeline to the outside world, even if at times it seems Clegg is working against him.

There's this scene where Clegg makes this horrible decision that kills his own men, but look at Forster's face. He's like a kid playing a video game. Not only does he think this plan is actually working, if he loses some of his men in the process, so be it. The idea of "giving in" to these terrorists' demands and withdrawing the troops is literally his worst nightmare. There's a small attempt to convey Banning's life outside work but that Radha Mitchell's role as his wife insignificant in terms of characterization isn't much of a detriment considering that's not where our concern lies. Dylan McDermott is sleazy and menacing as disgruntled ex-Secret Service agent Dave Forbes, who's defected to the other side to help Kang carry out his plan and is headed for a showdown with his former colleague.

As ridiculous as the movie may seem, it works within the context of its own silliness, never violating the ground rules it sets for itself. The opening thirty to forty minutes aren't silly though. They're actually pretty scary. After that, well, not so much. But it's still a great time. Whether Eckhart is believable as the President of the United States is almost beside the point here. Similar to Harrison Ford in Air Force One, he's believable as Aaron Eckhart playing the President in a treacherous situation, which is exactly all that should be asked of this. There's a London-based sequel on the way, but the filmmakers might be underestimating just how much the setting has to do with its success as it's tough to beat the sight of being able to just walk through the front door of a decimated White
House. As the better titled of the two recent White House attack movies, Olympus Has Fallen definitely won't inspire deep discussions about national security when it's over, but under its own terms, it's surprisingly smart and exciting.            

The Dark Knight Rises

Director: Christopher Nolan
Starring: Christian Bale, Tom Hardy, Anne Hathaway, Joseph Gordon-Levitt, Gary Oldman, Michael Caine, Marion Cotillard, Morgan Freeman, Matthew Modine, Nestor Carbonell, Juno Temple, Ben Mendelsohn, Brett Cullen
Running Time: 165 min.
Rating: PG-13

★★★★ (out of ★★★★)

So, here we are again. It's been four years since the release of The Dark Knight, but it definitely seems much longer. Re-watching it again recently I was surprised how poorly it's held up and how on target my original complaints were. They only loom larger now. Poor editing choices, pacing problems, cringe-worthy dialogue, a poorly written love interest and a third act mess. And it was still pretty great. Much it saved, or at least greatly covered, by the late Heath Ledger's unforgettable Oscar-winning performance. It really was the rare case of one actor rescuing an entire film and a lesson in the danger of heightened expectations.

Now, with the arrival of The Dark Knight Rises comes the closing chapter in Christopher Nolan's Batman trilogy, and another instance where it's difficult to approach a Batman film without seeing it through the prism of a real-life tragedy. At least for a while. We can only hope that doesn't last, because very little of what occurs in this final installment bares little resemblance to a reality we know. And what a relief. This is escapism at its finest. It's not only by far the strongest film in the series, but Nolan's grand-scale masterpiece and the movie everyone insists its predecessor is. He takes the gloves off, raising the stakes and escalating the mayhem. Knowing this is the end frees him up to anything, and boy does he take full advantage.

A palpable sense of fear and tension comes from sensing everything's up for grabs and anything can happen. And it mostly does. There seems to be no rules, but within that framework Nolan still manages to create something structurally sound and airtight, free of filler and flaws. Nearly three hours breeze by without a minute wasted. Of course, there's no performance like Ledger's, but there shouldn't be. In fact, it wouldn't even fit here. What's delivered instead is a more ambitious threat both terrifyingly physical and deliberately planned, as well as two tour-de-force supporting turns that steal the film outright. The results on screen don't lie. But the real story isn't how much better this is than Nolan's previous Batman outings, or anything else in the genre. It's that it isn't even close.

Revealing anything is probably giving away too much, so it's best to tread lightly when discussing the plot, which is as multi-layered as The Dark Knight, but more focused, with much of its thematic content calling back to Batman Begins. Eight years have passed since Batman took the fall for District Attorney Harvey Dent's death and a crippled, bearded, Howard Hughes-like Bruce Wayne (Christian Bale) remains secluded in his mansion, even as trusted butler Alfred (Michael Caine) unsuccessfully attempts to coax him out of seclusion. Wayne Enterprises is crumbling after a failed investment in Miranda Tate's (Marion Cotillard) energy project while Commissioner Jim Gordon (Gary Oldman) grows tired of living the lie that inspired the Dent Act, a bill that's cleaned up crime and restored peace to Gotham City. At least temporarily.

Enter Bane (Tom Hardy), a masked mercenary with an intricate, carefully orchestrated plan to gain control of the city and instigate a revolution, restoring power to the people. With support from Gordon and most of the Gotham Police, including rookie detective John Blake (Joseph Gordon-Levitt), Batman/Bruce Wayne is drawn out of retirement. But he must also contend with the arrival of cat burglar Selina Kyle (Anne Hathaway), whose own motivations may or may not include helping him.  

From the exciting opening hijack scene revealing Bane, the film grabs hold and doesn't let go. Sounding like a Scottish Darth Vader, talking and breathing heavily through his life-sustaining gas mask, he's a horrifying presence as much for his oratory delivery as his freakish, hulking physique. All the complaints about his voice being unintelligible are unfounded and the few times I did had to concentrate on what he was saying was well worth it since its so hypnotically creepy. You actually look forward to his soliloquies about the troubles of Gotham and hang on every word, which is a good thing considering he lectures a lot.  Beyond that, the physicality Tom Hardy brings to the role is astounding, making his fights with Batman the most intense the series has seen. There's a feeling he could literally die at this man's hands. Brilliantly skirting the line between comic book adversary and reality inspired cult leader, he's true enough to be believable in both worlds, but successfully functions as both in Nolan's.

Bane's motivations aren't outright political or socioeconomic, nor are his actions (most notably an attack on Gotham's stock exchange) meant as some kind of endorsement or condemnation of the Occupy movement. The film isn't a social commentary. It's about Batman. And this may be the first Batman film that really is. Or rather, it's more about Bruce Wayne. The line between the two is fuzzier than ever in this installment, if not eliminated entirely. As a result Nolan plays fast and loose with Batman's identity, finally freed from the constrictions of having to "hide it," making Bale's performance more compelling as a result. The two personas are so inseparable that when a major character finally pieces the two together he feels out of the loop and the last to get the memo. Bale spends his least amount of time in the Bat suit, which feels right and means more when he's eventually back in it. That gravely voice is still there, but for some reason it bothered me less this time, either just because he isn't under the cowl as much or there's too much else going on to care. The movie is literally it's title, and that focus results in Bale's best work in the role yet.

Gotham City is also for the first time becomes a living, breathing character and fleshed out as much more than merely an action setting. This is a story that feels epic in scale, more so when Bane's plan starts to come to fruition and we head into the exhilarating final act, which contains a pair of shocking, game-changing twists. The city is literally at war with itself but the movie never feels like its playing in standard action territory because these sequences are seamlessly presented with minimal CGI, and the story stakes feel so high. Unlike The Dark Knight, nearly all of that action takes place in broad daylight so we can actually see what's happening and the camera isn't shaking, which makes for a notable improvement in presentation.  It might also mark the first time a nuclear bomb is used in a movie in a way that doesn't feel contrived or ridiculous.

Nolan's script opens up the entire city and pushes every important supporting character to center stage alongside Batman. It could have easily felt like an Inception reunion with so many cast members from that film on board, but it doesn't because each is plugged into wildly different supporting roles that help piece together the ambitious narrative. Morgan Freeman's Lucius Fox probably has the least to do this time around while Michael Caine gets some of his most emotional moments in as Alfred. Despite being laid up in a hospital bed for nearly half the film, Oldman still manages to be as much of a force as Jim Gordon, this time eaten up with regret. And taking the requisite Eric Roberts/Tom Berenger veteran character comeback role in a Nolan movie, Matthew Modine turns in exceptionally solid work as a clueless, but power-hungry Deputy Commissioner Foley. 

If the Two-Face material felt shoehorned into the last act of the last film, than this one represents the most successful integration of two villains yet, if you want to classify Selina Kyle as a villain. Bane doesn't care about the haves or the have nots, the one percenters, or the rich getting richer, but Selina does and let's Bruce Wayne know about it. Yes, it's true she isn't referred to as "Catwoman"  by anyone during the course of the film which makes perfect sense since it wouldn't fly in this context. Of all the villains in the pantheon, Nolan was supposedly most resistant to incorporating this character into his grittier, more grounded universe, and it's hard to blame him. Michelle Pfeiffer's performance in Batman Returns, falsely held up as the gold standard, may have been appropriate for that film, but the interpretation is campy beyond belief, and that's coming from someone who loves the classic 60's TV series.

As the trailers have hinted, Anne Hathaway absolutely knocks it out of the park, delivering the definitive interpretation of the character by making her a believable human being with real motivations. Devastatingly sexy and lethally dangerous, Selina's damaged goods who might have past the point of redemption and I loved how the usually super-expressive Hathaway's eyes just seem to go dead. There's legitimate doubt which side she's on that lasts until practically the final scene, and is only enhanced by Hathaway playing Selina as if she might not know either. And I love the catsuit, which actually seems like a functional uniform for her job rather than a costume. She's also given just the right amount of screen time to make the necessary impact. Much like Ledger, in hindsight it seems impossible anyone would think she was miscast or another actress could have done this better. And I've thought it too. We couldn't have been more wrong.

Marion Cotillard's Miranda Tate is thankfully no Rachel Dawes, and along with Selina Kyle, finally disproves the allegation that Nolan is incapable of writing strong female characters.Calling Hathaway's performance the picture's strongest is high praise, especially considering Joseph Gordon-Levitt almost walks away with it. Despite what you may have heard, his part as Gotham cop John Blake is so huge in both camera time and importance that you may as well consider him a co-lead alongside Bale. As the only hopeful, idealistic cop left amidst a sea of corruption, he seems to understand Bruce Wayne in ways no one else can, and Levitt plays him as the ultimate good guy, struggling to hold on to his values even as his city collapses around him. The movie's as much about him as it is Batman.

There comes this point in the picture when Nolan does something we didn't think he'd ever do, that he swore he'd never do, and even Christian Bale said he better not even try. But somehow he pulls it off, and without us even realizing he did until it's over. It's surprising just how powerful this ending is. Talk about sticking the landing. It feels like the cherry on top of a sundae, bringing the saga circle and confirming that Nolan hasn't been overpraised for his resuscitation of a franchise that was left for dead before 2005's Batman Begins. Even when the execution had holes, his overall vision for the trilogy was airtight. So now the strongest film gets a somewhat divisive reaction. Why?  Because Ledger's not in it?

The Dark Knight Rises, besides actually being fun, feels like The Empire Strikes Back of the series, fulfilling all its lofty ambitions while still leaving us wanting more. Nolan could easily continue, but he's right to go out on top. Saving the best for last, he's come the closest to shaking the stigma associated with comic book movies by using its origins as a jumping-off point to something bigger. His work's done, but the beauty of the Batman franchise has always been how open it is to wildly different interpretations. Just pity the poor director who has to follow this one.

Wanted

Director: Timur Bekmambetov Starring: James McAvoy, Angelina Jolie, Morgan Freeman, Common, Thomas Kretschmann, Terence Stamp
Running Time: 110 min.
Rating: R

*** (out of ****)

There are some actors who I love to see stretch and challenge themselves, taking a wide variety of roles that push them out of their comfort zone. Angelina Jolie is NOT one of them. We all know why she's here. There’s no sense hiding it. It wasn’t to save the world or adopt babies. It was for her to expertly handle a firearm as her tattooed body hangs out of a dangerously high speeding vehicle. We want her to kill people and look hot doing it. Lately, she’s done neither, opting instead to star in a string of boring, emotionally draining roles that would cure even the worst cases of insomnia.

There are so few believable female action stars out there today that the loss of Jolie to more serious projects was a major blow, at least from where I sat. That’s why, if nothing else, Wanted should be celebrated as a return to form for her as she once again slips into the kind of bad-ass part she was born to play. If every role she took from here on out was identical to this I wouldn’t complain. She has a gift and should never hesitate using it.
My enthusiasm for her return to the genre that made her is tempered slightly by the fact that her character is underwritten and the film containing her big comeback seems more interested in drowning itself out in a pool of Matrix-like effects. But unlike that overrated piece of ‘90’s cyber-junk this at least has the decency to not pass itself off as anything more than disposable mindless entertainment. If you view it on that level it’ll work, despite its many flaws. The first hour introduces us to easily the whiniest crybaby protagonist of the year but you can't tell me it isn't entertaining. The movie have missed its calling as a workplace comedy in the vain of Office Space because it’s been a while since I laughed as hard during an action film as I did in the opening minutes of this one. What comes after isn’t nearly as clever, recycling a tired plot from other films, but it doesn’t really make a difference because it’s executed fine. Wanted can be sometimes be more annoying than enthralling but the overall result is a satisfying adrenaline rush.

Imagine nearly every social encounter you have being accompanied by a cold sweat, a flushed face and the sound of your heart beating out of your chest at 140 beats per minute. That’s the cubicle dwelling life of anxiety ridden office drone Wesley Gibson (James McAvoy) an accounts manager who’s life is so boring that when he "Googles" himself nothing comes up. When not being verbally abused by his tyrant boss (Lorna Scott) he’s arguing with his bitchy girlfriend (Kristen Hager) who’s cheating on him with his best friend Barry (Chris Pratt) during lunch hour. What’s the highlight of Wes' day? Buying Barry condoms.

Everything changes when he encounters the sexy and dangerous Fox (Jolie) who rescues him from a drug store attack from Cross (Thomas Kretschmann) a rogue assassin. He finds out from Fox that his father (David O’ Hara) was really “Mr. X,” a member of a thousand year old group of assassins known as The Fraternity and he was just murdered on a rooftop by Cross. Fox and the organization’s head honcho Sloan (Morgan Freeman) take Wes under their wing with the goal of molding him into a fully-Fraternized killing machine capable of exacting revenge on this traitor who murdered his father.
The first half hour of Wanted is executed just about as perfectly as you could hope for. Thats' due to the hilariously deadpan depiction of Wes' pathetic existence at work and the spot-on narration accompanying it. The tone is just right and that combined with some clever editing makes the character relatable. Sure, it’s a rip-off of Fight Club but if you’re going to crib from a movie you may as well make sure it’s great one, and you better do it well. Then there's up and comer McAvoy, in a role that’s a complete 180 from his work in last year’s Oscar contending period drama Atonement. He plays a wuss so well it’s almost scary and does it with an American accent that rarely falters. Pratt steals nearly every scene he’s in with his smug delivery as the disingenuous “best friend” Barry, a jerk I’m betting many will recognize immediately from their everyday lives. As they will Janice, Wesley’s boss from hell who has an unhealthy obsession with her stapler. These characters are played with such gusto you’d think the actors are having the time of their lives. If not, they sure fooled me.

After being treated to the most entertaining use of a computer keyboard I’ve ever seen the material moves into more problematic territory with the training of Wesley and mythology behind the Fraternity’s “kill one, save a thousand” philosophy ( I’m still not exactly sure how that philosophy comes into play when you’ve just killed a trainload of innocent people). The screenplay is loosely based on Mark Millar’s graphic novel series and just about any other action film you could think of. You don’t go into a movie like this expecting a riveting, complex character study, nor is it one, but I was surprised by a well-placed twist that not only made sense and took the story in a much more interesting direction. It definitely raised the stakes, convincing me that it had more on its mind than I originally thought. It’s still dumb, but definitely not lazy.

Wesley’s training sequences also heavily borrow (steal?) from Fight Club and Russian director Timur Bekmambetov (of Nightwatch and Daywatch fame) can’t seem to get enough of that Matrix “bullet time” technology and heavily relies on many fast forward and slow-motion sequences. It works for this kind of film and Bekmambetov really knows how to shoot exhilarating action scenes but there were times where it felt more annoying than exciting. How many times do we need to see curving bullets or the point of view from one as it finds its (human) target?

McAvoy and Jolie play off each other well and when Wes first meets Fox his dumb founded expressions and over-the-top theatrics sell the whole experience perfectly. Though it occurs seemingly overnight, his transition from pencil pusher to certifiable badass killing machine works, which says a lot about his range of skill as an actor.

As Fox, Jolie has a smaller role than you may expect but she makes the most of it. I wish they did more with her but in this kind of a role just her presence is enough. She looks great (even if she could use a cheeseburger or two) and despite her slight frame she’s STILL incredibly believable with a gun in her hand. At times she looks bored with it but the important thing is that we’re not, a claim that can’t be made about some of her other film work of late.

If you’re an actress with that much screen presence and natural charisma the last thing you want to do is take parts that suppress it, which is why this is exactly what she should be doing. Forget about being taken seriously as an actress. Why bother? She’ll always be known as a celebrity first and this is the kind of part, more than any other, where we can check that distracting information at the door and just have some fun. Morgan Freeman once again plays his old, wise authority figure role but I appreciated that he at least took a little bit of a detour with it this time around.
Make no mistake about it, this is a dumb movie with little to no nutritional value, but it’s also a thrill ride that never lets up. The soundtrack rocks and features an original song by Danny Elfman (“The Little Things”) that would deserve inclusion among this year’s Best Original Song nominees if there isn’t some ridiculous rule disqualifying it (and I'm sure there probably is).

While I watching this I wasn’t even sure what I thought but then after it sunk in I realized it accomplished exactly what it needed to with style and precision, despite the fact there isn’t an original idea to be found. It almost plays like a clumsier version of last year’s superior Shoot ‘Em Up but just seeing Jolie in a role like this again is reason enough to recommend it. Two sequels are planned if for no other than to make a quick buck because this story certainly can’t support them. The fun here was watching the wimpy protagonist indoctrinated into this crazy world so without that I don't know what's left. But in a summer full of big blockbuster disappointments for me Wanted at least manages to hold its ground.

The Dark Knight

Director: Christopher Nolan
Starring: Christian Bale, Heath Ledger, Aaron Eckhart, Gary Oldman, Maggie Gyllenhaal, Michael Caine, Morgan Freeman
Running Time: 152 min.
Rating: PG-13

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

So, finally, here we are. The years of ongoing speculation. The restless anticipation. The viral marketing. The endless hype. The off screen tragedy. And I’m actually a little shocked. The Dark Knight is a great, wildly ambitious film, easily one of 2008's best and by far the best film in the series but I don't think it's a masterpiece and it did fall short of my expectations, which is almost understandable when they're this high. Unlike many, I had some minor issues with it. This is probably going to be the most negative review you read for the film and that I'm still highly praising it should give you an idea just how good it is, as if you didn't know already.

Going in I’ve heard his film compared to such epic crime dramas as The Godfather Part II and Heat and that's a revealing point. At times writer/director Christopher Nolan really does seem to believe he's re-making those films rather than giving us a summer action popcorn movie and I found myself I wondering if such a treatment was almost too much for this kind of material. In crafting a Batman drenched in gritty realism, he's made a film so deep, textured and intelligent that it's almost intimidating. It's so ambitious and he jams so much in that I actually worried the movie would slip away from him and co-writers Jonathan Nolan and David Goyer in the third act. It didn't, but that doesn't mean it couldn't have used a trim. However, if that's is the only price I have to pay to get a cinematic superhero rendering of this quality, so be it.

If we hit the low point in goofy camp with Joel Schumacher’s Batman and Robin we've now gone as far as possible in the other direction and Nolan’s pitch-black vision has been pushed to the limit. I don't even know where we can go from here. Even if we could argue all day whether the film is overhyped, there's one aspect of this film that surely isn't as an actor leaves us with the ultimate gift. Heath Ledger's performance as The Joker is not only as great as you've heard, it's better, and just about the most frighteningly display off villainy you'll ever witness on screen. But there's actually another supporting performance that's hasn't garnered as much attention that almost equals it in emotional complexity.

No need to worry about spoilers here. The film’s plot is so multi-layered I’m not sure I could give it away if I tried and you could have filled the entire Batman series with the plots and sub-plots contained within it. And Shakespearean tragedies don't have this much going on emotionally. The sequel picks up where Batman Begins left off with mob crime in Gotham City escalating even further under Lieutenant Jim Gordon’s (Gary Oldman) watch, except a new criminal mastermind by the name of The Joker (Ledger) is cutting in and creatively robbing the mob of its earnings. His first appearance, an electrifyingly bank robbery unlike any you could hope to see on film, provides a strong, unforgettable introduction to the psychotic villain.

There's also a “White Knight” whose stormed into Gotham City, district attorney Harvey Dent (Aaron Eckhart), a fair and honest legal crusader who wants to rid the streets of low-lives so there’s no longer a need for Batman (Christian Bale). He’s also dating and working alongside Bruce Wayne’s longtime love Rachel Dawes (Maggie Gyllenhaal, taking over for Katie Holmes). Rachel wrestles with her feelings for the new D.A. while still obviously carrying a torch for Bruce. She’ll have a choice to make. Meanwhile, Bruce struggles with his identity as Batman like never before, wondering whether his presence is actually helping the city, or burying it deeper in crime.
The film creates an awesome parallel between Joker and Batman, much more alike than different. “You Complete Me!” he tells the Caped Crusader. And he’s right. He does. Gotham City truly isn’t big enough for these two and you’d figure this could only end one way. Nolan has other, bigger plans though. Most of the first hour plays like a mob movie and a lot of time (maybe too much) is devoted to build-up. But the real satisfaction comes from Ledger’s Joker bubbling just below Gotham’s underbelly waiting to explode.

Played as a sick hybrid of Clockwork Orange’s Alex and Sid Vicious of The Sex Pistols, Joker bares no resemblance to any villain previously committed to film. It's truly the definitive portrayal of this iconic character, with Ledger making Cesar Romero and even Jack Nicholson look like clowns hired for a children's birthday party. Every moment he's on screen is pure terror and Nolan is smart enough to know the right dose of screen time to give him. Not too much, not too little. Just the perfect amount. There really aren't words to describe what he does and to say it's the greatest performance contained in a superhero movie is an insult because this is no superhero movie, nor does it feel like a "performance." Heath Ledger becomes The Joker. He inhabits him. Nothing could have possibly prepared me for what he does in this role and if I didn't know who was playing the part beforehand I would have never guessed it was him. He's physically unrecognizable. What surprised me most was how funny he was. Not haha funny, but scary-funny. Like a serial killer he storms into Gotham without reason or warning and no backstory is required or wanted because Ledger provides everything. It stays with you. A posthumous Oscar nomination isn't just a possibility, it's guaranteed. I'm skeptical whether the Academy would have considered nominating him unless he died, but that speaks for my lack of faith in them and their bias against the genre, not Ledger's work, which deserves to win. Who knew he had this in him?

When I first heard Ledger was cast in the role I wasn’t thrilled, mainly because of my unfamiliarity with his previous work, but he’s proven me, and any other doubters, completely wrong here. When the final credits rolled I felt immense sadness wondering about all the future great performances we’d be missing out on. But had he not tragically passed away and just retired on this role, his legacy would still be secure. That's how spellbinding this is.

Aside from Ledger’s Joker, Nolan does a good job spreading the wealth among the various supporting characters, but I wouldn’t expect anything less considering the film’s gargantuan running length. Michael Caine’s Alfred and Morgan Freeman’s Lucius Fox, who both had little more than cameo roles in Batman Begins, get much more screen time and are fleshed out with greater importance. Both contribute in big ways to the story and it’s a welcome change. Even more welcome is the contribution of Gary Oldman as Lieutenant Gordon this time around as he’s given a superb story arc that deepens and complicates his relationship with Batman as well as the citizens of Gotham. Oldman slides into the role effortlessly and I couldn't believe how important the part was. It's essentially treated as being on the same level as Batman. No one could ever accuse Nolan of skimping on character development.

Bale’s performance as Batman, truthfully, I found to be just okay. I thought his solid work in the previous film was slightly overpraised and don't even get me started on that silly voice Nolan has Bale use when he's behind the mask. I was always amazed that no one has a problem with that. Bruce Wayne for the first time in the series’ history really comes off as arrogant and I think that's intentional because the movie is working in shades of gray. The two morally compromised characters in the film are actually more likable than he is. It's easily the darkest rendering of the character yet, but it does serve the many themes of the story well.

Part of why Bruce Wayne is so hard to root for may be because he isn’t the real hero of the film. Harvey Dent is. Its no wonder he is since Aaron Eckhart gives a performance that’s only a few notches below Ledger’s, suggesting a depth and complexity to Gotham’s righteous district attorney that couldn’t have been on the page. I wasn’t only rooting for this guy, but felt deep sympathy for him as he tries to do the right thing only to unintentionally dig himself deeper by the second.
I know it’s a staple in the comics and I’ll be ripped apart for saying this, but the two-sided coin came off as a little cheesy to me. In a film so grounded in gritty realism it seemed cartoonish having this D.A. go around flipping a giant coin to make a decision every second. I know fans would have been enraged but if it were excised I wouldn't complain. Nolan did such a good job depicting the theme of chance within the story that seeing it seems almost unnecessary.

The visual treatment of Two-Face is spectacular and a giant step up from Tommy Lee Jones’ embarrassing makeup job in Batman Forever. This version looks like he was ripped directly from the comics and that was definitely the right way to go. I fully expected Eckhart to blow Jones' cackling cartoon Two-Face out of the water but Harvey Dent is a big, big deal in this movie and the journey Nolan takes him on is fascinating. He’s a victim of circumstance and Eckhart acts his heart out to sell the transformation even if the script overreaches a little with him toward the end. Still, of all the characters in the film, I probably cared about him the most.

Not surprisingly, Maggie Gyllenhaal does a solid job as Rachel and brings more nuance to the role than Katie Holmes did in the previous film. She's an actress that brings something interesting to every role she plays and for the most part this is no exception, but something did seem to be just a little off. For instance, take the scene you’ve seen in the trailers with The Joker crashing the dinner party and threatening Rachel. It’s supposed to be frightening and intense but because Maggie plays the character as a fiercely independent and feisty woman who can't be intimidated I wasn’t exactly afraid for her. As much as it pains me to admit this, something Katie Holmes was always good at was conveying innocence and Rachel could have used a little more of that here. Since the rest of the movie is drenched in gloom and doom that juxtaposition may have been intriguing. But Gyllenhaal brings other attributes to the role that Holmes could only dream of. For one, she's actually likable. She's also much more believable as a hardened attorney and has excellent chemistry with Eckhart. Her chemistry with Bale is iffier but I think that has more to do with Bale's darker, aloof rendering of Bruce Wayne than Gyllenhaal's performance. I didn't get exactly what I was hoping with Rachel Dawes and despite the strides made here it's still Nolan's least developed and most poorly written character. No actress would be winning awards for this role.

Despite everything Nolan’s trying to do here the field doesn’t start to get too crowded until the last 45 minutes or so. There was a point the film could have ended but Nolan just keeps going and takes Two-Face’s story further than it should have gone without completing the Joker’s. As I loved Eckhart’s work it there’s no need to jam that much in when another film is going to be made that could easily cover that territory. Eckhart's performance as Harvey Dent was so compelling I almost didn't want to see him turn into Two-Face and part of me wondered the direction the story could take if he didn't because let's face it: His transformation is a big stretch. This film deals with some heady issues like the possibility of evil and corruption, national security, the burden of personal responsibility and the need for heroes, or rather if they really even exist. The final twist of the knife is not only surprising, but thought provoking and will leave you in a state of deep contemplation. How many times could you say that about a superhero film?  A major story thread is left dangling in the most literal sense and there's no way it could ever possibly be resolved. Perhaps fittingly.


The film runs 2 and a half hours but I can't say I thought it flew by like everyone else did. This is more a crime drama than an action movie and it requires your complete attention. There were a few points during the film where I was even getting restless and wondered why certain scenes (specifically in the first and last hours) weren’t left on the cutting room floor. The actions sequences were exciting and thankfully didn't rely on an overabundance of CGI, or at least didn't look like they did.

Mostly due to the viewing conditions (poor air conditioning and screaming kids) this was a grueling experience, rather than a thrilling one and I didn't come rushing out of the theater in a state of cosmic euphoria and excitement. In fact, it took me some time to completely gather my thoughts on the film and I had even written a review before this one that I had scrapped. Even now my thoughts on the movie are still very raw and it still probably needs a lot of time to settle. I was also unprepared for just how much the excessive hype would effect me going in. It really took a toll. "Let's get it over with" isn't the most desirable attitude to approach a film with but unfortunately the media put me in that position. I can tell myself all of these factors don't make a difference, but who am I kidding? It'll be interesting to see when I re-watch it on DVD whether the minor problems I had with it iron out or get worse.
I just recently ranked the Batman films and I wouldn't even dare place this because I don’t consider it a Batman film. Going in I didn't expect something more akin to Zodiac or There Will Be Blood than any superhero movie and I'm curious to see how this does in the coming weeks because this doesn't fit the textbook definition of mainstream, crowd-pleasing summer entertainment. I can't help but think something may have been slightly lost in taking this approach, as if the superhero movie was robbed of its virginity...at knife point. But I'll bite the bullet because it's too cinematically challenging to do otherwise. I don't know if it's a masterpiece as a whole, but many parts of it (specifically the work of Ledger and Eckhart) could qualify as such.

The friend I saw it with agreed with the general consensus that it was a masterpiece and the greatest superhero film ever made. Then I asked him if he had fun. He danced around the question, talking about the performances and the visuals until he finally told me it didn’t have to be fun, just faithful to Bob Kane’s original vision of the character. It became clear right then and there that the rules have changed. That we finally got what we've been waiting for and found out what would happen if all our previously held expectations of these kinds of movies were just thrown away. Only the bat suit and clown make-up remain. It's Batman, envisioned by Christopher Nolan. The Dark Knight changed the landscape and, for better or worse, we won't be able to view superhero movies the same way again.

The Bucket List

Director: Rob Reiner
Starring: Jack Nicholson, Morgan Freeman, Sean Hayes, Beverly Todd, Rob Morrow, Rowena King
Running Time: 98 min.
Rating: PG-13

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

When you have two actors the caliber of Jack Nicholson and Morgan Freeman headlining a film together for the first time certain expectations accompany it, all of which are incredibly high. If you’ve seen any of the commercials or trailers for The Bucket List you already know they play two terminally ill cancer patients who, with only less than a year left to live, make a list of everything they want to do with the time they have left.

It’s a “can’t miss” premise I assumed that if executed even half as well as it could be would still have the potential to be one of the most entertaining and emotionally moving pictures of the past year. Instead, it ends up being a dreary slog and a harsh reminder that even the best actors still need intelligent material to support their well-intentioned efforts.

That it still almost manages to get over the hump is a testament to the skill of these two acting icons, who share a great onscreen chemistry and for the most part deliver terrific performances. They deserve none of the blame and the amount that can be placed on director Rob Reiner is surprisingly minimal. It’s a breezy, predictable film with an uninspired screenplay that too often goes on autopilot, so in love with its central idea that it completely forgets to develop it. Instead it seems more concerned with long-winded soliloquies, mundane philosophizing and marital strife. I was actually worried the two central characters would bore themselves to death before they completed the list and we got to a resolution to the story.

Hard-working blue-collar auto mechanic Carter Chambers (Freeman) has lived a life plagued with some regret despite a healthy marriage to his wife of 47 years with whom he has two sons and a daughter. When he’s diagnosed with terminal cancer he ends up sharing a room with the hospital’s cranky billionaire CEO Edward Cole (Nicholson), who’s also dying of cancer. The roommates get off to a rocky start but before long they start to hit it off and become fast friends, commiserating over the pain of chemotherapy. I really enjoyed the first half hour of this picture when these two guys were getting to know each other and Reiner was smart enough to not try anything fancy and just let the two actors play off one another. The result is we get to know and care about these two characters and they come off as real people, not stereotypes.

When the idea of the bucket list is introduced everything goes downhill. I say “introduced” because I’m convinced that only if screenwriter Justin Zackham had physically walked onscreen himself and handed the list to the actors could its appearance have come off more clumsy and obvious. What started as an emotionally involving story of two men from different backgrounds growing closer turns into actors reciting clumsy dialogue to explain the purpose of the list, which is one of the most unambitious “to do lists” you’re ever likely to read from anyone who’s near death. Here’s a sampling:

1. Go race car driving
2. Go sky-diving
3. Go on a safari
4. Get a tattoo

There’s more (much of which is barely completed by the end of the film) but it doesn’t get any better. I know these guys are supposed to be up there in years, but that’s the best they could do? The script introduced an interesting aspect to Freeman’s Carter in the beginning when we find out he’s a history buff whose ambitions to teach fell by the wayside when his wife became pregnant. Wouldn’t he want to follow through with that life goal and earn his degree? Scenes of Nicholson and Freeman in a frat house surely would have been more entertaining than any of the above options. It sure worked for Nicholson in a far superior comedy about a man entering the twilight of his life, About Schmidt. Wouldn’t they hit Vegas? I mean, really, who wouldn’t hit Vegas with only a couple of months left to live? What about past girlfriends? This list is the centerpiece of the film so it’s important that it seems like someone dying of cancer wrote it, not a Hollywood screenwriter.

I wonder if Zackham actually asked cancer patients what their list would look like, and if he did, something tells me at the top wouldn’t be: “WITNESS SOMETHING TRULY MAJESTIC.” The only audience likely to be moved by that is the studio executives Zackam pitched the story to in meetings. What’s funniest about the list is it’s often forgotten about for most of the film so the two main characters can drone on and on about the ghastly pallor of death and their shattered family lives. It’s a shame because with two actors who project so much energy and an important message about embracing life, this movie could have really inspired people who have gone through a similar situation, or known someone who have. Instead, because of the script’s laziness a film that should be striking a universal chord comes off as a picture aimed only at the elderly.

Another problem is a very poorly written and even worse acted supporting character. Looking at the credits you probably think I’m talking about Will and Grace’s Sean Hayes, who plays Edward’s sarcastic but loyal assistant, but he actually gets off some great lines and his interplay with Nicholson was a highlight of the film. I wish there was more of it. The offending character is Carter’s wife Virginia (broadly caricatured by Beverly Todd), who objects that her husband is going on a silly road trip rather than staying with her and fighting his illness. That’s a perfectly reasonable complaint for a loved one to have and I commend Zackham for thinking to put it in. Unfortunately, she’s portrayed as a raving lunatic.

All Todd does is scream and nag as if she’s carefully studied clips of Thandie Newton’s performance in The Pursuit of Happyness. There’s a rational argument in there somewhere but it doesn’t come through, and as a result, she comes off as selfish and unlikable. Carter should have added "FILE FOR DIVORCE" to the bucket list. She’s so bad that when he has a chance to cheat on her with a prostitute (played by Rowena King) I was hoping he’d do it. He’s more than earned a freebie after putting up with this woman for 47 years. I found spending five minutes with her challenging. Reiner has to take most of the blame on this one for thinking it was a good idea for her to carry on like that. In attempting to give Carter resonating marital difficulties he forgot that we actually have to root for the couple for it to work.

The film fares better with Edward as he’s given a much better sub-plot involving his estranged daughter, although even that isn’t as effective as it should be because of the long-winded back story accompanying it. The film does really start to find its footing in the last half hour and a big part of that is due to Jack Nicholson’s performance, which never wavers throughout but really kicks into high gear as we approach the finish line. The list miraculously reappears as if everyone suddenly remembered there were still items left to check off and Nicholson really delivers here, almost saving the film. We know how this will end but the script does find a clever way to surprise us within the context of its predetermined outcome. Unfortunately, there were just too many problems earlier for the story to pack the full emotional punch it could have.

The two leads carry this entire film on their backs with very little help from the screenplay but I’d say Nicholson does the better work, if only because he has the more complex character while Freeman’s old wise man routine is starting to get a little too familiar. You could argue he’s just giving us another variation on his role as God from Bruce Almighty here. His character also narrates the picture, which is physically impossible for obvious reasons, but Freeman’s voice-over work is always so good I was willing to give that a pass. I

It’s impossible to hate this picture because it’s heart is in the right place and the premise and performances hold your interest. But it could have been so much more. There’s nothing wrong with a film being sappy or predictable, but for too much of its running time The Bucket List just phones its story in.

Lucky Number Slevin

Director: Paul McGuigan
Starring: Josh Hartnett, Morgan Freeman, Bruce Willis, Lucy Lui, Ben Kingley, Stanley Tucci
Running Time: 109 min.
Rating: R

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

I wasn't expecting much going into the unfortunately titled Lucky Number Slevin. In fact, I didn't really have any interest in seeing it at all despite numerous recommendations. But I'm glad I did. The movie starts as as a whip-smart crime thriller but then somewhere along the way turns into an astonishing tale of redemption and revenge. It takes an ordinary story and makes it extraordinary, which is what the best films are supposed to do. It also has the best twist ending in a crime movie since The Usual Suspects in 1995.

Slevin (Josh Hartnett) has a bit of a problem. He walked in on his girlfriend cheating on him, got mugged and had his nose broken. When he goes to crash at his friend Nick's pad in New York City, Nick's nowhere to be found. What he does find is a perky next door neighbor Lindsey (an adorably quirky Lucy Liu) and two thugs who think he's Nick. Before long we realize Nick was knee deep in some serious shit with two feuding mob bosses: "The Boss" (Morgan Freeman) and "The Rabbi" (Ben Kingley). The film turns Hitchcockian in that it becomes a case of mistaken identity, but Slevin almost all but gives up in attempting to convince these guys he's not Nick. It ain't gonna work. To make matters worse he's being trailed by an infamous assassin named Goodkat (Bruce Willis), who's motives we're not sure about right until the end. With Lindsey's help they attempt to uncover the mystery.

It seems like I've described a gritty crime drama, when in fact the movie's really a black comedy with sly humor and quick, witty dialogue. You really have to pay attention as things move very, very fast. The plot is complicated and intricate with many twists and turns, but never impossible to follow.

This is the first time Josh Hartnett has really been asked to completely carry a film on his shoulders and he does it with breezy confidence in a surprising performance. It also says a lot that he has no problem holding his own with screen legends Freeman and Kingsley, who are in top form. Lucy Lui's character, for all intents and purposes, should be a throwaway role but it isn't. She's a key player in his situation and it's a tribute to the script and her performance that that's never forgotten, even at the very end. The movie cheats a little, deliberating withholding information from us at times, but it's understandable and worth it once we get to the final pay off which does hold up upon repeated viewings and rewards us for paying close attention to every detail.

The movie begins in an empty airport terminal with Bruce Willis' character in a wheelchair telling an urban legend about a horse and a gambling debt to a total stranger. How the movie goes from that to where it ends up, and how it does it, is nothing short of brilliant. Writer Jason Smilovic and Director Paul McGiugan (who previously directed Hartnett in Wicker Park) have done what seems like the impossible. In today's movie world, where every crime movie seems like nothing more than a Tarantino knock-off, they've made an original crime movie that's fresh, smart and exciting. That alone makes Lucky Number Slevin worth everyone's time.