Much like the somber melodies that float throughout its 105-minute runtime, Inside Llewyn Davis will remain lodged in your head weeks after you and the film first meet. With Oscar Isaac's "Fare thee we-e-ell..." ringing daintily in your ears, you'll shuffle out from the grasp of the Coen Brothers' wonderland of gray, but you won't soon be able to relieve yourself of what is arguable the pair's best film yet. Llewyn's is a story so outstandingly simple — he's a man who's s**t out of luck, and not especially deserving of any. He wakes up, loses his friend's cat, plays some music, and wishes things were better. And yet his is the Coens' most invigorating and deftly human tale yet.
Llewyn Davis makes the bold, but practical, choice of never insisting that we love its hero. He's effectively a jackass, justifying all the waste he has incurred with the rudeness he showers on the majority of those in his acquaintance. But Llewyn Davis isn't the villain here, either. The villain is the industry, and all the uphill battles inherent to its machinations. The villain isn't Llewyn's substantially more successful contacts — an old pal Jim (Justin Timberlake) and new fellow couch-surfer Troy (Stark Sands), but the listening public that prefers their saccharine pop to his dreary drips of misery. The villain isn't Llewyn's resentful old flame Jean (Carey Mulligan), no matter how many volatile admonitions she might shoot his way, but the act of God surrounding their unwitting adherence to one another. And it's not even the cantankerous and foul Roland Turner (a delightfully hammy John Goodman), but the endless, frigid open road of which each man is a prisoner (if the film has one flaw, it's that this segment carries on just a bit too long, but that might very well be the point). The villain is the cold.
Call it all a raw deal. But the real dynamism isn't in the challenges that happen outside Llewyn Davis, but in the determined toxicity brewing inside as he meets each and every one.
But this isn't the Coen Brothers' Murphy's Law comedy A Serious Man — we don't watch a chaotic pileup of every imaginable trick that the devil can manage to pull. Llewyn is steady throughout, not burying Llewyn deeper but keeping him on the ground, with the fruit-bearing branches forever out of his reach. In its narrative, Llewyn Davis is as close to natural life as any of the filmmakers' works to date. Perfectly exhibited in a late scene involving a trip to Akron, Llewyn isn't a cinematic construct, but the sort of person we know, so painfully, that we are very likely to be... on our bad days.
Still, working in such a terrific harmony with the grounded feel of Llewyn himself, we have that Coen whimsy in their delivery of 1960s New York City — rather, a magic kingdom painted in the stellar form of a 1960s New York City. And not the New York City we're given by the likes of Martin Scorsese or Woody Allen. Closer, maybe, to Spike Lee or Sydney Lumet, but still a terrain unique to moviegoers. A New York that's always recovering from a hostile rain, and always promising another 'round the bend. One that flickers like a dying bulb, with its million odd beleaguered moths buzzing around it against the pull of logic. There is something so incredibly alive about the Coens' crying city; this hazy dream world's partnership with half-dead, anchored-to-earth portrait like Llewyn is the product of such sophisticated imagination at play.
And to cap this review of one of the best features 2013 has given us, it's only appropriate to return to the element in which its identity is really cemented: the music. Without the tunes bobbing through the story, we'd still likely find something terrific in Llewyn Davis. But the music, as beautiful as it is, is the reason for the story. As we watch Isaac's hopeless sad sack drag himself through Manhattan's winter, past the helping hands of friends and into the grimaces of strangers, as we struggle with our own handfuls of nihilistic skepticism that any of this yarn is worth the agony (or that our attention to its meandering nature is worth the price of a ticket), we are given the rare treat of an answer. Of course it's all for something. Of course it's all about something. It's about that beautiful, beautiful music.
Follow @Michael Arbeiter
| Follow @Hollywood_com
WHAT IT’S ABOUT?
Like hundreds of others in the mad-for-baseball Dominican Republic Miguel Santos (aka Sugar) struggles to try to make it in the local major leagues which would help pull his family out of poverty. His big break comes when U.S. scouts transfer the pitcher to a minor league team in Iowa giving him the opportunity to succeed in America. But when his game goes bad on the mound and an injury occurs he must decide what he really wants to become.
WHO’S IN IT?
Writer/directors Anna Boden and Ryan Fleck (Half Nelson) spent months scouting teams in the Dominican Republic to find a ball player capable of acting the leading role finally settling on Algenis Perez Soto who had never been in front of a movie camera. He’s authentic and mesmerizing to watch as Sugar — his performance owing a great deal to his own similar background. He nails it and is completely convincing as a pitcher even though he wasn’t initially comfortable on the mound (his own position was really second base). Many of the other roles are also cast with amateur actors adding to the realistic tone of the film.
Boden and Nelson clearly show the love they have for the game but their film is really a striking document of the immigrant’s journey reminiscent in many ways of Elia Kazan’s Oscar nominated America America (1963). We usually only hear about the superstar players but these filmmakers put the emphasis on the great majority that never make it past the minors.
Many scenes are long and drawn out but despite the fact that the film could have used some tighter editing (particularly in the baseball segments) there is still a nice rhythm established.
Due to its desire to be as authentic as possible much of the film is not in English; so those who don’t like to read subtitles might be advised to steer clear.
Based on the best-selling novel by Ann Brashares the story centers on four best friends--Lena (Alexis Bledel) Tibby (Amber Tamblyn) Bridget (Blake Lively) and Carmen (America Ferrera)--who realize that they are about to spend their first summer away from each other. On one last shopping spree they find a pair of jeans that fits all of them odd considering their different body shapes. It must mean the pants are magical and will bring them good luck. So the girls make a pack that each of them will spend one week with the pants and then send them off to the next girl. Lena the shy self-conscious artist who is spending the summer in Greece with her grandparents takes the pants first--and meets the hunky Kostas (Michael Rady). Tibby a rebel "suckumentary" filmmaker who marches to the beat of her own drum gets them next. But as tough as Tibby thinks she is she learns some invaluable life lessons through her chance encounter with an extraordinary girl Bailey (Jenna Boyd). Then it's Bridget's turn a vivacious blonde who spends her summer playing soccer in Mexico and displays some reckless behavior with a hands-off camp coach (Mike Vogel). Finally there's Carmen a spit-fire writer who decides to spend some quality time with her wayward dad. Yet upon arrival she is greeted with a not-so-pleasant surprise when her father (Bradley Whitford) introduces her to his very white-bred fiancé (Nancy Travis) and her two teenage children. These four realize in the end whatever magic there is comes from their enduring friendship.
The ensemble cast of fresh faces makes Sisterhood entirely watchable. Tamblyn of TV's Joan of Arcadia's gives the strongest performance as Tibby. The talented actress really digs in executing perfectly Tibby's tough-on-the-outside-but-a-real-softie-underneath persona. Ferrera best known for her stellar performance in the indie hit Real Women Have Curves is another standout as Carmen a girl who wears her heart on her sleeve especially when she finally confronts her dad about never being there for her. Boyd (The Missing) too is quite affecting as Tibby's new rather outspoken friend harboring a tragic secret of her own.. Newcomer Lively does an adequate job playing Bridget who we think is pretty blonde and carefree but who has really been left with a void after the death of her mother. Had she put in a little more effort though she could have been the star of the show. Only Bledel fails to inspire. Watching her is just like an extended episode of her TV show Gilmore Girls both boring and lackluster. She doesn't seem to stretch herself in any way.
This is every teenage girls story being with the best of friends but also being "afraid of time and not having enough of it." At least this is what author Ann Brashares wanted to convey when she wrote the critically acclaimed hugely popular book. TV director Ken Kwapis understands this; Sisterhood bleeds heart and soul. While the pacing seems to drag a bit and the maudlin factor heighten in parts the movie nonetheless mixes the right amount of comedy tragedy and the difficulties of being 16 on the cusp of adulthood. Sisterhood is also beautifully shot especially the scenes in Greece. Kwapis shows the beauty and history of this magnificent country in a way that makes you want to grab your passport and take a trip there. But being that the movie is already a tad slow even the many picturesque Greek moments seem unnecessary. Sisterhood could have shaved a good half hour to make it a more concise movie.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.