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A blog wherein a literary agent will sometimes discuss his business, sometimes discuss the movies he sees, the tennis he watches, or the world around him. In which he will often wish he could say more, but will be obliged by business necessity and basic politeness and simple civility to hold his tongue. Rankings are done on a scale of one to five Slithy Toads, where a 0 is a complete waste of time, a 2 is a completely innocuous way to spend your time, and a 4 is intended as a geas compelling you to make the time.
Showing posts with label Leonardo DiCaprio. Show all posts
Showing posts with label Leonardo DiCaprio. Show all posts

Sunday, February 28, 2016

Oscars 2016

Midnight:  Spotlight.

11:57  I like Leonardo DiCaprio a lot, liked him from when I first saw him in Gilbert Grape a very very long time ago.  In Wolf of Wall St., in Titanic, in lots of movies.  I just wish he wasn't getting an Oscar for The Revenant.

11:53 PM I would happily see Michael Fassbender or Malcom's dad or Matt winning for Best Actor.  But this is not likely to end happily.  Steve Jobs was a great movie, and Fassbender's performance is a huge part of that. Matt Damon was too good, made it seem too easy!  Trumbo better for me than for most critics.

11:45 PM Best Actress is a depressing category for me.  Saw 45 Years, and not a fan.  And not a fan of Brooklyn, or of Carol.  Didn't see Joy.  So I guess I'll hope for Brie Larson to win, as she is touted to do.

11:38 PM Not a surprise, but I so wish something or someone else would have won for Best Director.  What can he do next year in his quest for Best Award Bait?  Maybe we'll find out he's secretly been filming a movie for a few days every year that takes some character from his bar mitzvah through his 30th birthday.  Yes, he is "very lucky."

11:35 PM  For all the people complaining how long the Oscars are... well, it's actually not much longer than seeing a bloated 2:20+ superhero movie with the accompanying previews of coming attractions.  And here, you got to tweet and eat and do the whole social media thing and complain at the TV set, and just now you got to learn about an exciting drug to ask your doctor about.  Which beats needing ear plugs during the overblown SFX CGI spectacular half hour battle at the end of the bloated superhero movie.

11:34 PM  If they could do a revote after seeing the performances tonight, would the same song have won?

11:33 PM Curious to see what movies won Best Score when Ennio Morricone could have won for The Mission, The Untouchables, or Casualties of War.  His collaboration with Brian de Palma was, for me, a particularly rewarding period for Morricone's work.

11:26 PM  Look at Ennio Morricone's filmography, it's stunning he's never won an Oscar before, and wonderful for him to get one for something that's good on its own terms, rather than Leonardo DiCaprio potentially winning for something like The Revenant that is far from his best role, movie, or performance.  Much as I like John Williams, and hope he'll get one more Oscar for his career, thks deserved to be Morricone's year.

11:17 PM  Happily Lady Gaga's great moment is followed shortly thereafter by another one of those great Kohls ads.

11:15 PM Lady Gaga is kind of special.  Very powerful moment that crept up in the middle of a song.

11:08 PM No rooting interest in Foreign Language category.  The more reviews I read of Son of Saul, the less interested I was in seeing it.  So the only one of the five nominees I ended up seeing was the Danish film A War, which opened in NYC just this month.  Which was good, though I'd say the director's earlier A Hijacking was somewhat better.

11:05 PM  So they found a way to get Jacob Tremblay on to the stage in the year of his amazing performance in Room. A way that worked kind of nicely.  This is a really, really sweet moment.  Kudos.

11:02 PM  It was not a good year for the art of cinematography, with Slocombe, Zsigmond and Miroslav Ondricek all passing away.

11:01 PM Douglas Slocombe passed away just recently.  He did additional filming on Close Encounters, leading to work as Director of Photography on the Indiana Jones movies.  Only in the Oscar memorial crawl am I noticing that he passed in the same "Oscar year" as the primary cinematographer for Close Encounters, Vilmos Zsigmond.

10:51 PM  So I guess I am celebrating an anniversary of seeing Whoopi Goldberg's Oscar-winning performance in Ghost.  I saw Ghost at the Loews Elmwood.  Where did you see Ghost?

10:48 PM  The award for Best Tweet from @isaacbilmes: Patricia Arquette seems bored and confused
I wish I'd come up with that one.

10:46 PM  I don't even get the joke about the kids and Price Waterhouse.  But I feel like Chris Rock is very very in command of the festivities this evening.

10:43 PM  Per my comment a little while ago, Amy was great.  The Best Documentary award might have gone to the actual best documentary of last year.

10:39 PM  If you want to understand the regard for the caliber of Mark Rylance's performance in Bridge of Spies, just look at his filmography.  It's full of, frankly, not very much.  The award isn't being given for career achievement.  But he's done enough that it isn't being given for being someone we've never heard from and won't hear much from again, which is another tradition in the supporting categories.  I first heard Rylance's name associated with Angels and Insects, an overrated UK artsy film that came out some twenty years ago.  And it isn't like I've heard it in association with much else since.  Lots of Shakespearean and UK theatre credits.  But this is an award that's given for a great performance that commanded recognition.

10:37 PM  And the clip for Sylvester Stallone showed why the Oscar didn't go to him, shouldn't have.  It's said that acting is about listening, and the quickest glimpse of Michael B. Jordan listening to Sylvester Stallone's Rocky shows so much in just a few seconds of quiet listening.  So much feeling, so much thought, so much thinking about what's being said.  I mention in my #OscarsSoWhite post that it's tough to judge negatively on categories Creed could have been nominated in and wasn't; which Best Actor nominee do you boot in favor of Michael B. Jordan.  But Jordan delivered a better performance in Creed than Sylvester Stallone did, and let's hope Michael B. Jordan's time will come...

10:32 PM  Glad to hear Mark Rylance singling out Tom Hanks for praise.  Tom Hanks should be the Men-yl Streep, picking up nomination after nomination in the Best Actor category, and he isn't.  He's so effortless and so likable that it's hard to appreciate just how good he is, continues to be, in many different roles.

10:31 PM  The win for Mark Rylance is something of an upset, but he gives a great performance in Bridge of Spies.  Which I really liked.  And which now has an Oscar win.

10:30 PM  Everyone thinks Stallone wins for Creed, but the Supporting Actor category is full of great performances from Stallone, Bale, Ruffalo and Rylance.  Anyone but Tom Hardy for The Revenant.

10:20 PM  These Android ads.  This was better than the first, but still has so little to do with the product that I don't think it works.  And did I suggest that Kohls start the search for a new ad agency?

10:15 PM  Will take advantage of song to finish my cole slaw from my take-out last night from the excellent John Brown Smokehouse.  Better BBQ than any place in NC or TX or KC or wherever, just a ten-minute walk from my apartment.  For good BBQ, come to NYC and join me at John Brown Smokehouse.  I got there too late yesterday, though, and they were out of turkey.  Sigh.

10:14 PM  I also like Kevin Hart's tux.  If I ever have to go the National Book Awards or something, I hope I can find a tuxedo with pizzazz.  Not that this is a problem I am very likely to have to worry about.  But yes, "a suit with shiny stuff on it," as Kevin Hart just said.  That's the way to go.

10:13 PM I didn't like Inside Out at all, but I guess as a 51-year-old I can't muster the energy to hate what happens in the Animation category.  Don't go to many of the movies.  I liked Peanuts Movie, which wasn't even nominated.

10:11 PM Is there any chance that people voted for Bear Story in the Animated Short category because they thought they were voting for the Bear Mauling in The Revenant, thus heightening the chances that some other, better movie will take the Best Picture award?

10:10 PM I'm going to talk a little about documentaries while the Minions are speaking.  2015 was a great year for documentary films, and most of the best to me aren't even on the Oscar ballot.  From those we can choose from, Amy is my hands-down favorite.  It's informative, enlightening, happy, sad, opinionated but even-handed.  Takes a musical figure I'd known only from a great distance and humanizes her.  Finds the tragedy without dwelling in sadness.  Don't know if it will win tonight.  Do know I would strongly suggest checking it out.

10:07 PM  They don't have near enough boxes for 3000 people.

10:05 PM  Is Wednesday's episode of The Goldbergs finally the excuse I need to give it a try?  Have an hour of TV to replace The Flash with.  Try that? Try Black-ish?

10:02 PM One of my professional frustrations is the ghettoization and lack of appreciation of serious science fiction.  Ex Machina should have gotten even better reviews, been seen by even more people.  But there are a lot of people who don't even have the tools to understand and evaluate Ex Machina, to appreciate the suppleness of its writing, the elegance with which the performances conveyed those words, and the idea that Alex Garland put into them.  So it is incredibly, incredibly sweet to have it take something home on Oscar night.  It takes some unexpected yet obvious turns, in the tradition of but more serious than something like Sixth Sense.  I would see this again if it popped up at a New York movie house.

9:57 PM  And I am kind of stunned and kind of super happy that Ex Machina has taken an actual Oscar to go with its honorary win for Alicia Vikander in the supporting arts category.

9:57 PM  Quick glimpse of bear mauling sequence that would have cut The Revenant short.  Too bad it didn't.

9:55 PM  Very nice gesture to single out Andy Serkis for some special recognition, since his contributions to movies like the Planet of the Apes and Lord of the Rings sagas have been hard to acknowledge within traditional acting categories.

9:53 PM  Quite a year for achievement in unexpected sequels, with both Mad Max Fury Road and Creed setting a standard that I can pretty much guarantee won't be exceeded by the next Avengers or Superman movie.

9:52 PM  We're now at six wins for Mad Max: Fury Road; we can safely say it will be taking home the most Oscars on the evening.  Maybe not the biggest Oscar, but definitely the most of them.

9:50 PM  One of those Mad Max dudes is wearing a great tux.  The Mad Max tech crew is setting the bar high for wardrobe tonight, which is probably not what they were covering on the red carpet.  Like, I want that tux.

9:49 PM Maybe Star Wars can get a token win in one of the sound categories?

9:45 PM  Two dud ads from Kohls.  I vote they start the search for a new ad agency first thing Monday morning.

9:43 PM  Hasn't Liev Schreiber come a long way from lighting up the screen in the Scream movies?  Lots of  critics have him on their "Should have" lists for Spotlight.

9:41 PM  Four wins now for Mad Max Fury Road, and against tough competition.  Spotlight and The Big Short also had serious cred for winning in this category.

9:40 PM Editing is a category with a snub.  I think Bridge of Spies should have gotten a nod in this category.

9:38 PM  Not a surprise to see The Revenant win for photography.  It looked beautiful in the 30 minutes I saw of it.  But this was a category with a lot of achievement from all of the nominees.

9:34 PM:  McDonalds ad just used the word "montage," hopefully to better results than Sam Morgan rolling it out when we played Codenames in the office on Wednesday.

9:33 PM:  Steve  Jobs hasn't been in the discussion much this awards season, and I just want to interrupt to say how good a movie it was.

9:30 PM:  I saw Mad Max Fury Road with noted YA author and JABberwocky client E C Myers!

9:30 PM:  The bear -- nice touch!

9:27 PM  Are these three straight tech wins for Mad Max Fury Road three leaves at the bottom of a tea cup?

9:25 PM  Can we acknowledge that the "thank you" crawl at the bottom isn't working, and do away with it before the end of the evening?

9:23 PM  And I kind of am surprised.  But not going to complain.  Anything but The Revenant is my motto for the night, and Mad Max Fury Road was a very well-crafted film.

9:23 PM  Will be surprised if The Revenant doesn't win Production Design.

9:21 PM  Costume Design for Mad Max!  I didn't have an opinion until they started announcing the awards, and they got to Mad Max, and I said "you know, these costumes had to be created actually from whole cloth to form a full world that couldn't be based on pictures from a book or a newspaper."  I'm happier about this than I would have thought.  And the winner is wearing quite a costume, herself.

9:17 PM  Followed by an ad for Mr. Holland's Opus.  Wait.  No.  An ad for Android.  How couldn't I have figured that out?

9:16 PM  Cadillac ad is a glorified version of the Kohl's ad.  So well done, so intriguing, all the art and artistry.  And it's an ad for a car nameplate.

9:13 PM:  Yeah.  I don't like it when someone wins for a movie I didn't see, but since she was in another movie this year that I saw, and that movie was really good, and she was really good.  Congrats to Alicia Vikander.

9:12 PM:  Even Alicia Vikander from the movie I didn't see.  I can pretend it's for Ex Machina, instead.

9:10 PM:  Anyone but Rooney Mara in this category.  Please.  Anyone.

9:10 PM:  So each Best Picture gets about as much time as the bits during the screenplay award presentations?

9:06 PM:  Over 35 minutes in.  2 awards presented.

9:04 PM  One of the worst ever James Bond movies has as many Oscar nominations as Straight Outta Compton.

8:57 PM:  I feel like the Kohl's ad is a fail.  It doesn't have any association with the product it's advertising.  Would have fit in with all the bad ads during the Super Bowl telecast.

8:56 PM:  The Samsung Galaxy 7 ad was better filmmaking than some of the Best Picture nominees. So was the Diet Coke ad.

8:52 PM And the three-way Best Picture race lives on, with The Big Short staking its claim.

8:50 PM Another tough category in Adopted Screenplay.  Martian, Big Short, Room -- all three, I could make a case for.

8:48 PM:  It's now official.  One of the year's best pictures will not win an Oscar.  And one of the year's best pictures is guaranteed at least one.  Keeps Best Picture race alive; if Compton had pulled an upset here, highly unlikely Spotlight would have still been in running for the top prize.

8:46 PM:  Tough category.  I want Straight Outta Compton to win an Oscar.  And of course, I loved Ex Machina.  And Spotlight.

8:40 PM  "Sorority Racist" -- I detect a hash tag.

8:35 PM I worry about wearing white clothes because they'll get stained so easily.  I hope no one plans on giving Chris Rock a newspaper to read during the commercial breaks, and that he ate beforehand.  Newspaper ink is deadly.

8:33 PM  I don't understand this montage.

8:31 PM And we're off!

8:26 PM  I'd be happy to see either Spotlight or The Big Short win for Best Picture, of the three movies considered to be in a three-picture race.  Last year I was totally bummed when Boyhood lost to the overrated Oscar Bait that was Birdman, and if Alejandro Inarrituthe director of that film can do it again this year with The Revenant, I will not be happy.  You can reference my "#OscarsSoTrite" post for further details on my reaction to The Revenant.  In fairness, a reaction that is based on only the first 30 minutes, because I couldn't tolerate longer.  Also this year, #OscarsSoWhite, best exemplified by the failure of Straight Outta Compton to be nominated for Best Picture.

8:25 PM In a year full of over two dozen nominations for movies I didn't see or didn't like very much, I have lots of opinions this year.

7:58 PM Coming soon, my annual live blog!

Monday, March 3, 2014

The Joshcars for 2013

So having completed the live blogging for the Oscars, this is my Baker's Dozen best of 2013, in no particular order:

World War Z:
This is grading on a curve.  But basically, there are so many really shitty special effects spectaculars around these days that I feel an urge to give some recognition to a movie that's just a little bit different.  Also, since I keep asking authors to revise their manuscripts, it's nice to see something in the popular culture where revision works.  In particular, the ending of this major CGI-ridden summer spectacular release is quiet.  One setting, one main character, a place where small little things count, where the tension is real.  A place where the violence is earned, justified by the movie being what the movie is, and now entirely thrown in just because someone thinks it's fun to plow a starship into a building, or to destroy Manhattan for the 18th time and pretend like it isn't, like Superman didn't save Manhattan in Superman 2 over 30 years ago.  This was a pleasant surprise, an over-achiever in a genre that keeps under-achieving.  So I want to give it some credit.

The Spectacular Now:
Rumor has it that Miles Teller, the star of this spectacularly good adaptation of a YA novel, is going to be in a new Fantastic Four movie.  What a shame.  An actor as talented as Miles Teller shouldn't be wasting time in shitty SFX/CGI/superhero movies, please see my comments above on World War Z.  See my comments on my live Oscar blog, and this is an example of where Roger Ebert can do something I can't, which is explain why a movie is good.  This was one of the very last movies Ebert reviewed, and maybe I should just let his review speak for me. But I don't really want to.  So let me try.

I always feel like one of the best achievements in the arts is to get me to like the kind of thing I don't ordinarily like.  The New Yorker story that I can read must be a truly great story, or the generic slasher movie that I love can't be just a generic slasher movie, or the literary science fiction novel that grabs the Joshua Bilmes whose roots are in the Analog end of sf/f.  And The Spectacular Now is a movie about a character I despise, a high school student really big into alcohol who is supposed to be lovable.  And alcoholics aren't lovable.  Behavior fueled by alcohol isn't lovable.  There's nothing redeeming about a movie like Don's Party.  Nothing pleasant about Leaving Las Vegas.  Yet this movie walks the tightrope.

It has to be a team effort, here.  Novel by Tim Tharp.  Adapted by screenwriter Michael H. Weber, whose previous credits include the similarly successful (500) Days of Summer.  Directed by James Ponsoldt, whose prior movie was Smashed, the kind of movie about alcoholism that I really don't need in my life, thank you.

But most importantly, a pitch-perfect performance by Miles Teller.

He's a likable alcoholic but never a lovable one.  When he's given the chance to have more hours at work if only he would show up on time, he's self-aware enough to tell the boss that he knows it just won't work, he won't put the job before alcohol, and he won't be showing up on time.  Capable of being the perfect boyfriend, except for all the times he's drunk and he isn't capable of being anyone's boyfriend.

You can understand a bit of why he likes his booze.  He's from a broken home.  Older sister he isn't on great terms.  Struggling mother, who won't tell him where his father is.  And when we finally meet the father, you know the apple didn't fall far from the tree, and you also see this glimmer of awareness that our lead character knows his father's a screw-up, that he's a screw-up, that one doesn't justify the other and he doesn't admire his father for being what he too often is, even though he can't stop himself from being it.

It's awfully damned good.

Short Term 12:
Another quiet little film that has probably gone under the radar for most of you.  Brie Larson, who also has a supporting role in Spectacular Now, plays a counselor at a group home for troubled children.  Jonathan Gallagher is another "veteran" at the home, which isn't saying much.  It's a hard place to stay, the kind of place you burn out on real quick.  But the two of them have somehow managed to keep at it for at least a little bit, and the film starts with a quiet scene of Gallagher giving some background on the place to a new employee.  These characters have a lot more going on than we see at first, and the film peels back their layers slowly, carefully, way more so than any of us will ever be with an actual onion in our kitchen.  While it's doing that, the film also slowly peels back some of the closely held secrets for the characters in the home, many of whom might want to be someplace else, all of whom are free to be someplace else if they can escape past the doors and the guards and get on to the street outside.  It's a strange kind of thing, how the employees at the home can do just about anything to keep the kids from leaving but have no power to order them back should they leave.

So I'm not describing this like any film anyone is going to rush out to see.  But the writing is really good.  The acting is really good.  The surprises along the way are never total surprises, yet we never quite see them coming way far ahead of time.   Powerful stuff.

Rush:
Great performances.  Great soundtrack.  Great photography. Great racing sequences.

It's not like this film, one of Ron Howard's best, didn't get some good reviews.  It's not like it didn't get some recognition on the awards scene, with some acting awards especially.  But certainly, in the US, the film didn't do as well as hoped.  It's a shame, that.

12 Years a Slave:
It's a hard film to love, and I want to keep pushing it away, but it doesn't deserve that.

I first caught up with director Steve McQueen with Shame, an impressive feature about an IRA prisoner who went on hunger strike.  Searing visual images, excellent acting, powerful story.  Often hard to sit through.

I got to see McQueen in person when the Museum of the Moving Image screened his Shame.  Didn't impress me so much there.  The movie had the same stunning visuals, I can still see some scenes of the main character racing down deserted Manhattan streets that shimmer and gleam.  Like Shame, hard to sit through.  We don't really need visually stunning movies about sex addicts.  And to have to listen to the director talk about all of the wonderful artistic decisions in making a film that nobody should have bothered with.  It's the risk of these Q&A things.  This wasn't as bad as listening to Alan Parker spout on about his genius in making The Life of David Gale, but it was close.

Then we arrive at 12 Years a Slave.  And we're starting to see some patterns here.  There are stunning visuals, and the movie is hard to sit through.

But it's a worthy movie in better ways than a lot of other worthy movies.  It isn't a movie that uses white people to tell the story of the black struggle.  It isn't Richard Attenborough or Bernardo Bertolluci who choke on their own artifice half the time.  See Gandhi for worthy and dull, or The Last Emperor.  See Cry Freedom.  No, this is told with passion, with emotion, with an abundance of good acting.  

Captain Phillips:
Tom Hanks gives a great performance, and the film shows director Paul Greengrass at this best, with great photography and great editing in the service of some real-life drama.

Room 237:
A documentary about The Shining, kind of.

If you like The Shining -- and I like it very much -- it's hard to see it just once.  You want to keep seeing it, over and over and over again.  And when you see a movie over and over again, you notice things about it that you may not notice on the first viewing or the thirtieth.  And it's a movie directed by Stanley Kubrick, whom some consider to be technocratic and cold, so in control of every frame that he suffocates human emotion.  So when you see one of his movies over and over again, and you notice things, you know that everything has to be there for a reason.

So this movie introduces us to people, whom we hear in voiceover over clips from the film but don't actually see on-screen, who have very clear ideas of what The Shining is all about.  Notice how the carpet has things that look like little rockets, and this is a movie about the faking of the Apollo rocket launches.  Or notice the food in the pantry and realize it's a movie about the treatment of the American Indian.  Or realize that the window in the hotel GM's office couldn't really be there and go someplace else from there.  All of these theories can't be right, and likely none of them are.  According to Kubrick's right hand man on the film, even the control freak director sometimes has a particular thing appear on the screen because they happened to need something and that was at hand on the particular day they shot a particular scene where they needed this particular thing.

I have a confession to make.  I never realized the window in the office couldn't have been a window.  I have stared at the screen a gazillion times trying to figure out if the bathroom window that Danny has to climb out of can really be a window in that particular place. I've yearned to look at blueprints because I never quite believe the architecture of the hotel, and now I find out that I might be able to go on the internet and find the blueprints I'm looking for.  But do I want to?  I like my mysteries.  I like my The Shining.

It's funny, sometimes funny-scary, it's insightful about the creative process, about our interaction with creativity, about obsession. .

Philomena:
The funny version of the not so funny story of the Magdalene laundries in Ireland.  Excellently acted by Judi Dench and Steve Coogan.

Before Midnight:
I saw Before Sunrise when it came out 18 years ago, at the UA Lynbrook on a day when I rode out there to visit the accountants for the Scott Meredith Agency, whom I used for a couple years when I struck out on my own.  If memory serves, I've not seen the movie again, though the idea of it sticks around.  And then Before Sunset came around, 9 years after, and it sticks around.  You can't quite believe how much tension you can get out of wondering if a guy's going to leave to catch his flight or not, and this movie left me as rapt about that small little decision as if there were a red timer counting down for the bomb that might go off and destroy the world.  And now, Before Midnight.  Once again, Ethan Hawke, Juliet Delpy and director Richard Linklater collaborate on a little movie with a long aftertaste.  Ethan Hawke didn't make his flight.  Now, he's got a son from his prior marriage, the one that broke up in part because he didn't make that flight.  And he's spending some tense time in Greece with his girlfriend, Delpy.  And they ride around in a car after dropping their son off at the airport, and they talk while the beautiful Greek scenery glides by.  And they talk over lunch with friends, while chopping the vegetables and eating the result.  And they talk some more while they walk back to their hotel, an extended take tracking them through relics.  And it all comes to a head when they get to the hotel, 18 years of history and resentment and love and bitterness and shared experiences and things they should've done together but didn't.  Nominated for an Oscar in the screenplay categories.  The movies seem like they're being made up on the spot, but as I read in one interview, you can't go filming across the Greek countryside, closing roads, doing multiple takes, and make it all up as you go along.

Her:
One of the best sf films in a long time.  Winner of an Academy Award for Original Screenplay.

The Wolf of Wall Street:
Not quite up to the level of Goodfellas, but an amazingly good film by Martin Scorcese, with an exceptional lead performance by Leonardo DiCaprio and good supporting work by Jonah Hill, Kyle Chandler and others.  Leisurely, finding its own rhythms, and certain to be talked about for a very long time.

The Conjuring:
I realized as I was typing that I needed to add this to my list for reasons mentioned in what I say above about The Spectacular Now.  I'm nearing 50.  I don't do horror movies the way I used to.  I hardly do them at all.  But I went to see this one, I was on the edge of my seat the whole way, I was using my arms or my knees or my anything to keep myself from seeing what was happening on the screen because I was scared.  The movie's of a type, but it's among the very best of it's type that you'll find.

Gravity:
New-fangled technology and old-fashioned great acting from Sandra Bullock and George Clooney.  Visually stunning to look at, suspenseful to sit through, one of the few films I wish I'd paid more to see.

There are several hundred films released each year, and I see only a small percentage of them, somewhere between 90-110 in a typical year.  So ya know, my list isn't as valid as some critic who is paid to see movies and sees 400 of them, but it also isn't full of too many obscure films that only a critic would have or could have seen.  Room 237, Short Term 12, Spectacular Now are the more "obscure" of the movies on my list, but hey, I just round a Room 237 DVD lurking in Costco, so how obscure can it be!

Monday, January 13, 2014

Hustlers and Wolves


A year ago this time I was leading the cheers for David Russell's Silver Linings Playbook.

This year, I want to say clear as day that David Russell's American Hustle is a giant snow job of a good movie, and I cannot believe critics are falling for the hustle,

I cared about the characters in Silver Linings Playbook.  It was old-fashioned at its heart and sweet at its core, and very well acted.

I didn't care about a thing in American Hustle,  Christian Bale plays a two bit hustler whom I don't care about.  He runs a con with an FBI agent played by Bradley Cooper, whom I don't care about.  All the movie does is remind me constantly. of films like The Sting or Catch Me If You Can that do it better.

There is the occasional pleasure.  De Niro is good and has a great moment.  Amy Adams is brilliant but too little seen.  But mostly, I was bored early and often.

If you're looking for a cinematic snow job this winter, The Wolf of Wall Street would be your better bet.

From the coming attraction there were hopes this would be another Goodfellas, an earlier Scorcese film that us one of the best American films of recent decades. And by that standard, Wolf of Wall Street disappoints.  By most other standards It is a darn fine piece of work.

It is the mostly true story of Jordan Belfort, who founded the serious sounding brokerage firm of Stratton Oakmont that specialized in "selling garbage to garbage men," persuading the middle class -- very very persuasively -- to invest in penny stocks, two bit companies with much better chances of becoming half pint runts. This was a very lucrative if not entirely legal business that made Belfort very wealthy, and the Wolf of Wall Street delights in the bacchanalia that resulted, at least until Belfort was imprisoned on a variety of fraud charges.

The movie is long, around three hours long.  When so many movies today are special effects spectaculars full of fast cut action or fast cut just about anything, this is unusually rare.  The last movie I can consciously remember being so leisurely scene by scene was a Romanian art movie that seemed almost a parody of leisurely art movies.  Before that, Jonathan Demme's remake of Manchurian Candidate was a movie where every scene dragged on a beat too long, an extra boring beat too long.  And here, these long scenes can be seen as a celebration of decadence and excess and tawdriness and sexism and so much else we aren't supposed to celebrate.

Yet I found the scenes in Wolf of Wall Street to be tightly edited, taut, and compelling.  For all their length, Scorcese and his longtime editor Thelma Schoonmaker were finding the pulse of the scene, letting it play out in its own time and rhythm.  Matthew McConaughey's slightly more veteran broker teaching Leonardo DiCaprio's newbie broker the ropes at a 30 martini lunch.  Jordan Belfort trying to romance the stone of a cold FBI agent on a luxurious yacht. Most memorably a scene at a pay phone in a country club that turns into sardonic slapstick that in term becomes almost Grand Guignol.  Yeah, some of the scenes could have been a little tighter.  A going away speech given at Stratton Oakmont is one. But on balance I was enjoying the slow building skill of the film.

That said, it could still have lost a half hour in its final hour.  We aren't watching this because we care about Jordan Belfort's wife and kids, and the resolution of that plot arc could have been left on the cutting room floor.

I can't criticize the movie for its excess.  It is what is is; these are things that pretty much happened.  I can't fault the film for not showing the victims. It isn't about them, and a movie about selling "garbage to garbage men," you can't fill in just a little where the money for the bacchanalia is coming from?

Scorcese can be up and down,  Goodfellas great, Hugo I walked out of and other of his movies I should have.  But this is a major canon addition for a major figure in American cinema and should be seen. iPad