50/50: The Film Babble Blog Review

50/50 (Dir. Jonathan Levine, 2011)







Mining the misery of coping with cancer for comedy may not sound like a promising premise, yet 50/50, based on screenwriter Will Reiser’s bout with the illness, pulls it off with humorously heartfelt aplomb.

When Seattle public radio writer/producer Joseph Gordon-Levitt is diagnosed with the disease he’s unsurprisingly devastated, but he has a devoted girlfriend(Bryce Dallas Howard), and a supportive best friend (Seth Rogen) to help get him through.

Uh, make that just a supportive friend, as Rogen discovers at an art gallery that Howard is cheating on Gordon-Levitt and has photographic evidence of this on his cell phone. Howard is soon out of the picture, and Gordon-Levitt turns to Anna Kendrick as a therapist who’s adorably awkward in her newness to the job as she admits he’s only her third patient.

You got to love a movie that makes a convincing case for exploiting your ailment to get laid, a plan that anyone could guess was the scruffy Rogen’s. After helping shave Gordon-Levitt’s head with his “ball trimmers,” Rogen takes his friend out to a club in one of the film’s funniest scenes where they learn that “I have cancer” is not an effective pick-up line.

So the profane, yet mildly profound 50/50 is essentially a bromance in the Apatowian tradition, but it doesn’t try too hard for laughs, they come naturally from conversations and situations that feel lovingly adapted from real life.

Take the case of Gordon-Levitt’s parents. The always welcome Anjelica Houston has the well-worn worried-sick mother part, but doesn’t overplay it. Likewise Serge Houde as the father who is suffering from Alzheimer’s. Neither character is exaggerated for comedic effect, or absorbed in messy melodrama and that’s incredibly refreshing to witness.

I was amused as much as I was touched by this film. I’m fine with Gordon- Levitt doing big ass Christopher Nolan flicks, and Rogen trying to find his footing in stoner superhero movies (or whatever the Hell you’d call the upcoming JAY AND SETH VS. THE APOCALYPSE), as long as they do funny small scale stories with emotional pull like this every once in a while.

More later...

Take Shelter (Friday, September 30, 2011) (84)

So this is Jeff Nichols' sophomore effort, and as such it's slightly inferior to his debut (Shotgun Stories). This is a very good movie about paranoia also starring the transfixing Michael Shannon. (Shannon is perhaps the most interesting, strangest actor working today, or really ever to appear onscreen. He seems totally unhinged, like a modern-day Kinski. Amazing.) Here Shannon's character believes the world is going to end with a weather event, so he builds a storm shelter in his back yard, at the expense of his job and his family's faith in him. I do generally like the final product, but find the whole work less-than-totally perfect. The magical Jessical Chastain (2011 is the year of Chastain, dontcha know) plays Shannons's wife who is dealing with his mania and again gives a near-perfect performance. Nichols is turning into a really wonderful American auteur and I love what he does with atmosphere, in the weather and the thematic sense of the term. The film's European ending is fun and interesting, but a slight bit less than totally fulfilling. I do love the sum of its parts, though: Nichols, Shannon, Chastain, psychodrama, American-Gothic (albeit a more Northern one, this time Ohio).

Stars: 3 of 4

The Debt (Tuesday, September 27, 2011) (83)

This is an American update of a little-known Israeli film from a few years ago. It's a story about a Massad group from the '60s who was supposed to kill a Nazi doctor but actually botched the job. They said they did the job, and thought they got away with it, until there is a small possibility that their lie might get out. They try to fix the job, but that opens up all sorts of other ethical questions that had previously been closed. It's basically The Man who Shot Liberty Valance, but if Ransom Stoddard had tried to make it right with Tom Doniphon for no particular reason. It's a good movie, but not a great one. It does continue Jessica Chastain's amazing year of acting (this time she's a ginger Jewess! Sigh.). It's a bit better than meh, and hurt mostly by it's moral grayness.

Stars: 2.5 of 4

MONEYBALL: The Film Babble Blog Review

MONEYBALL (Dir. Bennett Miller, 2011)

 

Some of the best camaraderie I’ve seen on the big screen lately is in the exchanges between Brad Pitt and Jonah Hill throughout this unorthodox take on the traditional inspirational sports story.

Pitt plays the real-life Billy Beane, the general manager of the Oakland Athletics, who recruits Hill, as a Yale economy major based on Paul DePodesta, to help him think outside the box in putting together a baseball team on an extremely low budget.

There’s a delicious deadpan thing happening with Pitt and Hill as they employ a statistical approach to scouting for new players, no doubt due to the thoroughy witty screenplay written by Aaron Sorkin and Steven Zaillian. It’s a pleasure to see Pitt as basically a regular relatable guy - a divorced dad who is driven to shake things up in his career - trading ideas with Hill, in one of his most likable and believable roles.

A dour Philip Seymour Hoffman, as the field manager of the team, doesn’t quite get what Pitt and Hill are up to so there are some flare-ups, but a rag tag roster of players is assembled (including Chris Pratt, Stephen Bishop, Casey Bond, and Royce Clayton) that pulls off a 20-game winning streak.

Despite such factors as Pitt’s overly precocious daughter (Kerris Dorsey) and his ex-wife (a barely registering Robin Wright), there’s not much of an emotional impact to this material, but the backroom break-downs which make up the bulk of this film are engaging enough to draw one in.

Subdued yet extremely sharp, MONEYBALL isn’t a movie just for baseball fanatics, it’s for anybody who enjoys character driven drama about people experimenting with new methods with compelling determination. Pitt provides one of his most down to earth performances that carries the film superbly, and the inventive pairing of him with Hill works way better than one would think.

Not being a baseball guy, or a sports guy at all for that matter, I was surprised at how much I enjoyed this film. It has the drive of the best docudramas – the ones that educate as much as they entertain – and folks should walk away with a good sense of how a couple of everyday guys can really be gamechangers.



More later...

Restless (Wednesday, September 21, 2011) (82)

Restless is a Gus Van Sant movie about a boy obsessed with death (Henry Hopper, fils de Dennis) who becomes friendly with a girl who has a few months to live because she's about to die of cancer (Mia Wasikowska). It's slight and facile and generally boring, but it does portend nice things from Master Hopper... and once again begs the question: why the fuck does Young Mia get work - she's really not good at all. There's nothing here that you didn't see done better in Harold and Maude (though this time the sex is at least age-appropriate... though that was part of the beauty of Harold and Maude that it was so wrong). There's really nothing about this film that's wonderful or terrible. It's mostly a fart in the wind.

Stars: 2 of 4

Contagion (Monday, September 19, 2011) (81)

Why Steven Soderbergh made a big budget, ensemble disaster film is totally beyond me. Contagion is not as bad as you've heard, but far from good. It tells the story of a virus that began somewhere in China (that new evil-empire, for it's vastness as much as for its secrecy) and moves along the line to all continents and all people until a viable antivirus can be found (this time with crowd-sourcing and YouTube!) (ugh). I like how it feels like a modern zombie movie with allusions to 28 Days Later and World War Z, but the fact remains it's only a movie because it's about a virus that affects white people in suburban Minnesota (aw, how nice). There's a fun 80s'ish score by Cliff Martinez that feels a lot like Vassal Benford and Harold Faltermeyer's score for The Running Man. Still, the script here, by Scott Z. Burns is terrible and inconsistent and begs for a scene in the New York City subway. This is a dog with only a few tricks.

Stars: 1.5 of 4

Drive (Sunday, September 18, 2011) (80)

Danish filmmaker Nicolas Winding Refn makes really interesting movies that are about suberficiality and technical surface qualities as much as they're about genres. Drive is an operatic noir but also a baroque driving movie and borrows from all of those subgenres in a very interesting visual way. There really isn't much of any narrative in this film: Ryan Gosling plays a driver who works part time at a mechanic's shop, part time as a Hollywood stunt driver and part time as a getaway driver for Los Angeles heist gangs. He has a direct way of dealing with everything he does, a style that can easily get ultraviolent in the blink of an eye. He falls for a typical noir mol, this time played dully by Carey Mulligan (that's the only way she knows how to do anything), who enters the plot only as a device to move the story to its next level. Any search for depth of story will lead one down blind alleys and into oblivion. This is a film about surface and it is interesting and quite beautiful in that context. Albert Brooks plays a wonderful bad guy here and is deserving of any acclaim he might get. All in all a fun film and pretty one, but not a great one.

Stars: 3 of 4