A character drama with a twisted sense of humor Silver Linings Playbook follows Pat (Bradley Cooper) a recently released psychiatric hospital patient who moves back in with his parents and begins a quest to reclaim his broken marriage. Despite the warnings from doctors Pat's mom Dolores (Jacki Weaver) and dad Pat Sr. (Robert De Niro) take him in hoping familiar settings and a little Eagles football may be the perfect cure. It isn't — Pat continuously loses his s**t over his ex-wife Nikki frantically stressing over her high school English class' reading syllabus (he toss Hemmingway's A Farewell to Arms straight through a glass window) and breaking down every time he hears their wedding song. There's no hope for him and Nikki — catching her with another man and beating him to a pulp led to his institutionalizing — but Pat's focused mind doesn't let him deviate.
After being invited to a friend's house for dinner Pat meets Tiffany (Jennifer Lawrence) who sees a friendship in the bipolar patient. After the death of her husband Tiffany went off the deep end engaging anyone and everyone for sex. She's sees a companion in Pat and although he's reluctant the off-kilter pair can't fight the magnetic power of their psychological issues.
Most of their conversations end in screaming or blunt admissions — but they're relatable.
Mental illness and human connection may sound like an equation for eye-roll-worthy saccharine but director David O. Russell mines Cooper and Lawrence's comedic strengths to turn Silver Linings Playbook into one of the funniest movies of the year.
Nothing is off limits for Russell; one reoccurring joke is that Pat can't stop bringing up the fact that Tiffany's husband is dead. As Tiffany puts it to Pat, "You say more inappropriate things than appropriate things."
To make Pat aware of how his bipolar existence affects the people around him and to make us the audience feel for this heart-wrenching experience Russell shoots and paces Silver Linings Playbook for awkward comedy.
He also returns to the always-reliable family dynamic. The Fighter is to Boston as Silver Linings Playbook is to Philadelphia De Niro perfecting the Eagles-loving everyman with a collection of betting buddies who may be just as delusional as Pat.
The legendary actor proved he had comedy chops in Meet the Parents but here he blends it with gravitas that earned him a legacy in the first place. Rush Hour actor Chris Tucker also pops up as Pat's good friend from the institution. More restrained than ever Tucker helps add warmth to the picture. Pat has a support system everywhere he turns. In essence the film emanates with positive vibes.
Even with a great ensemble Silver Linings Playbook is Cooper and Lawrence's show. To the bitter end Pat and Tiffany never get sappy with one another always at each other's throats over the feelings they harbor and the pasts they can't shake away.
Cooper loses himself in the chaotic mind of Pat without ever slipping into a caricature of the mentally ill. He can stir up laughs with his desperate search for Pat's missing wedding video and then shock us in the blink of an eye when things turn violent.
Impressively Lawrence's Tiffany is never written down. She never succumbs to being a comforting presence always provoking Pat to push himself.
She's a strong woman but a strong woman juggling her own set of issues. Lawrence conveys all of that without missing a beat. That dynamic should be make Silver Linings Playbook the talk of the town come Oscar time.
Who knew that Will Smith could deliver the year’s most unexpected and profoundly moving love story? He plays Ben a man with a deep dark secret that leads him help seven complete strangers each with their own particular set of circumstances. Constructed like a jigsaw puzzle we slowly get clues to the traumatic events that cause Ben to contact these people and change their lives in ways they never could have anticipated. What he doesn’t expect is to fall in love with one of them -- Emily Posa (Rosario Dawson) a cardiac patient whose heart may be weak but is clearly strong enough to make a difference in the way Ben looks at things. It’s this relationship that becomes the center of Grant Nieporte’s compelling screenplay but as it continues it’s obvious there is more to what Ben is doing a mystery not revealed until the final moments and one you will not easily forget. Will Smith is at his best. He may be the world’s No. 1 movie star at the moment but he’s continually proving himself to be a brilliant actor as well. Reteaming with director Gabriele Muccino who led him to a Best Actor Oscar nomination in The Pursuit of Happyness Smith once again finds his dramatic mojo in the role of a man whose life has been shattered by something so profoundly affecting that he reaches out to strangers in an effort to redeem himself. You will be hard-pressed to find the loveable Will Smith persona anywhere within this character. Dawson also has a career best as the spunky and courageous Emily a role that could have been sloppily sentimentalized and maudlin. She’s a revelation delivering a flawless and luminous performance. And best among the various recipients of Ben’s kindness is Woody Harrelson as a blind man he encounters. Also quite good is Barry Pepper as Ben’s childhood friend who is the only other person “in” on Ben’s master plan helping him to achieve his goal. He rips your heart out when he gets the call from Ben who says “It’s time.” Gabriele Muccino puts it all out there. He is an unapologetically emotional director and some will probably find fault with his style but as the Italian filmmaker proved in Pursuit of Happyness he knows exactly what he’s doing and where he’s taking the story. He’s most successful here in building suspense and an air of mystery around Smith’s character and then bringing it all home in a whopper of a final act. Clearly story acting and gut-level feeling are the three things that drive Muccino and his distinctive stamp and European approach is evident throughout. Most of all he has given Smith and Dawson a real showcase finding the meat of a story that’s one from the heart and good for the soul.
Oscar-winning screenwriter Akiva Goldsman adapts Brown’s bestselling page-turner to the best of his ability adding a few variations of his own but following the general plot of the novel. Robert Langdon (Tom Hanks) a professor of iconography and religious art becomes embroiled in a mystery when the highly respected Louvre curator in Paris is found murdered. Before he died he was able to leave Langdon and cryptologist Sophie Neveu (Audrey Tautou) the curator’s granddaughter clues through Da Vinci’s works which eventually lead them on a quest for the Holy Grail itself. Along for the ride is historian Leigh Teabing (Ian McKellen) a Paris detective (Jean Reno) and an albino monk (Paul Bettany) intent on stopping them. But here’s the kicker: one of Da Vinci’s theories is that Mary Magdalene and Jesus Christ were married and had a child thus creating a “sang real” or “royal bloodline” that must be protected destroyed or exposed--depending on which side of the fence you’re on. Ah the stuff great stories are made of. Upon hearing the casting of Da Vinci many of the book’s avid fans rejoiced--it is indeed a stellar line up. But it is probably one of the least compelling performances star Hanks has ever turned in. It’s not his fault really; Langdon is equally as stiff in the book. Same sort of goes for the Sophie character which is a shame for the lovely Tautou (Amelie) who isn’t able to fully utilize her incredibly expressive face here. Both actors could have been more animated but they are really the conduits for the more colorful supporting characters surrounding them. Bettany (Wimbledon) does an admirable job as the baddie a self-flagellating zealot intent on following orders even if the amiable actor is a bit ill-suited as a villain. But it’s McKellen who steals the show as the acerbic but jovial Teabing full of conspiracy theories and revelations about the true meaning of the Grail. The veteran thesp has a lot of information to pass on in the film but does so in a very engaging way. When he finally exits so does the film’s energy. Therein lies the main problem with The Da Vinci Code: Keeping up the momentum. The novel is chockfull of exposition--pages and pages of historical information along with passages about the characters’ pasts. It’s great to read but to watch it unfold on screen could have been an excruciatingly boring experience. Goldsman and Howard have both admitted having trouble adapting the material trying to find ways to make the story more cinematic. But the Oscar-winning Howard has proven himself to be a highly capable director and gives Da Vinci Code the necessary touches interweaving visual re-creations within the narration. Salvatore Totino's glistening cinematography also accentuates the lush sets while Hans Zimmer's score pumps it up. Still at two and a half hours Da Vinci Code drags. It has to--you’ve got all the book’s theories to get out. It's true Brown’s imaginative opus for obvious reasons rocked a few boats when it was first published but it sold millions. It stands to reason the movie will do the same at the box office.
Flimflam man matchstick man con man--there are all kinds of names for them but Roy Waller (Nicolas Cage) is a slightly different sort of con artist. He is an obsessive-compulsive agoraphobe whose habits include opening and closing a door three times before walking through it; keeping a house so fastidiously clean it reeks of disinfectant; and displaying so many physical ticks it's hard for him to carry on a normal conversation. Watching him you wouldn't dream Roy is a consummate professional who along with his partner Frank (Sam Rockwell) has spent years amassing a small fortune doing mostly short con jobs. But Frank is getting restless for a really big score and convinces a reluctant Roy to go in on a difficult job with huge payoff potential. The wrench in the plan however is the unexpected arrival of Angela (Alison Lohman) the 14-year-old daughter Roy suspected he had from a doomed relationship 14 years earlier but had never met. She's a precocious sweet-faced junk food-eating wild child who proves to be just the spark Roy needs to get past his hangups. This is where the film really takes off becoming more a character study than a typical who-is-swindling-whom scenario. Roy and Angela bond immediately and when the spunky Angela finds out what Daddy does for a living she is instantly smitten. In fact she talks Roy into teaching her some tricks of the trade and takes to it like "a duck to water." The web of deceit eventually gets more and more tangled as Roy's burgeoning paternal instincts cloud his fine-tuned judgment out in the field--and unfortunately the results are tragic.
It does seem a little odd Cage would decide to take another highly neurotic part after wowing audiences as quirky Charlie Kaufman in last year's Adaptation for which he earned an Academy Award nomination. One would think he'd want to try something else. The fact remains Cage is really good at playing this type of characters but with Roy he goes a little over the top as he races through a pharmacy twitching grunting and making "whoop!" sounds while trying to get a prescription filled. Sometimes its funny sometimes it's forced. When Angela shows up Roy's quirks become more subtle as he slowly sheds the neurosis and starts to care about the girl. Fresh-faced Lohman (White Oleander) rises up to the challenge of working with the seasoned likes of Cage and Rockwell and does an outstanding job as the wayward teenager who becomes the bright light at the end of Roy's dark tunnel. The two have an instant connection on screen and their scenes are what truly give the film its energy especially when Angela shows how the apple doesn't far from the tree. Accepting the fact she's a natural con artist she tells Roy "Mom was wrong. I didn't just get your elbows." Rockwell (Confessions of a Dangerous Mind) was born to play the wisecracking and confident Frank; you get the feeling he could actually be a successful con man if he tried.
For obvious reasons more than a few comparisons have been made between Matchstick Men and Peter Bogdanovich's 1973 Paper Moon which follows a con man and his adopted daughter as they swindle their way through the 1930s Dust Bowl. Although Matchstick Men doesn't quite live up to that classic under the steady guidance of Ridley Scott the film is still a gem in its own right. Producer/screenwriters Ted Griffin and Sean Bailey turn in a wonderful script full of vivid and interesting characters and the versatile Scott is able to elicit the exact performances needed to make the film come alive. With films ranging from sci-fi (Alien) to epic (Gladiator) to personal (Thelma & Louise) the versatile director consistently is able to create scenes in which the characters don't even have to speak for you to still understand them. And with Matchstick Men it's clear Scott is slightly in love with Roy and Angela. One of the more poignant scenes is where Roy takes Angela to lunch for the first time at a greasy diner and as a typical teenager the girl stuffs a hamburger in her mouth. The neurotic Roy watches his newfound daughter with simultaneous disgust and amazement.