The trailers for Hope Springs might lead you to believe it's a romantic comedy about a couple trying to jumpstart their sexless marriage but it causes more empathetic cringing than chuckles. Audiences will be drawn to Hope Springs by its stars Meryl Streep Tommy Lee Jones and Steve Carell and Streep's track record of pleasing summer movies like Julie & Julia and Mamma Mia! that offer a respite from the blockbusters flooding theaters. Despite what its marketing might have you believe Hope Springs isn't a rom-com. The film is a disarming mixture of deeply intimate confessions by a married couple in the sanctuary of a therapist's office awkwardly honest attempts by that couple to physically reconnect and incredibly sappy scenes underscored by intrusive music. Boldly addressing female desire especially in older women it's hard not to give the movie extra credit for what writer Vanessa Taylor's script is trying to convey and its rarity in mainstream film. The ebb and flow of intimacy and desire in a long-term relationship is what drives Hope Springs and while there are plenty contrived moments and unresolved issues it is frankly surprising and surprisingly frank. It's a summer release from a major studio with high caliber stars aimed squarely at the generally underserved 50+ audience addressing the even more taboo topic of that audience's sex life.
Streep plays Kay a suburban wife who's deeply unsatisfied emotionally and sexually by her marriage to Arnold. Arnold who is played by Tommy Lee Jones as his craggiest sleeps in a separate bedroom now that their kids have left the nest; he's like a stone cold robot emotionally and physically and Kay tiptoes around trying to make him happy even as he ignores her every gesture. One of the most striking scenes in the movie is at the very beginning when Kay primps and fusses over her modest sleepwear in the hopes of seducing her husband. Streep makes it obvious that this isn't an easy thing for Kay; it takes all her guts to try and wordlessly suggest sex to her husband and when she's shot down it hurts to watch. This isn't a one time disconnect between their libidos; this is an ongoing problem that leaves Kay feeling insecure and undesirable.
After a foray into the self-help section of her bookstore Kay finds a therapist who holds week-long intensive couples' therapy sessions in Good Hope Springs ME and in a seemingly unprecedented moment of decisiveness she books a trip for the couple. Arnold of course is having none of it but he eventually comes along for the ride. That doesn't mean he's up for answering any of Dr. Feld's questions though. To be fair Dr. Feld (Carell) is asking the couple deeply intimate questions so if Arnold is comfortable foisting his amorous wife off with the excuse he had pork for lunch it's not so far-fetched to believe he'd be angry when Feld asks him about his fantasy life or masturbation habits.
Although Arnold gets a pass on some of his issues Kay is forthright about why and how she's dissatisfied. When Dr. Feld asks her if she masturbates she says she doesn't because it makes her too sad. Kay offers similar revelations; she's willing to bare it all to revive her marriage while Arnold thinks the fact that they're married at all means they must be happy. Carell's Dr. Feld is soothing and kind (even a bit bland) but it's always a pleasure to see him play it straight.
It's subversive for a mega-watt star to play a character that talks about how sexually unsatisfied she is and how unsexy she feels with the man she loves most in the world. The added taboo of Kay and Arnold's age adds that much more to the conversation. Kay and Arnold's attempts at intimacy are emotionally raw and hard to watch. Even when things get funny they're mostly awkward funny not ha-ha funny.
The rest of the movie is a little uneven wrapped up tightly and happily by the end. Their time spent soul-searching alone is a little cheesy especially when Kay ends up in a local bar where she gets a little dizzy on white wine while dishing about her problems to the bartender (Elisabeth Shue). Somewhere along the line what probably started out as a character study ended up as a wobbly drama that pushes some boundaries but eventually lets everyone off the emotional hook in favor of a smoothed-over happy ending. Still its disarming moments and performances almost balance it out. Although its target audience might be dismayed to find it's not as light-hearted as it would seem Hope Springs offers up the opportunity for discussion about sexuality and aging at a time when books and films like 50 Shades of Grey and Magic Mike are perking up similar conversations. In the end that's a good thing.
The American military has always been at the forefront of technological innovation often working on the fringes of scientific credibility in its constant search for new ways to locate and eliminate enemies. At times the military's eagerness to gain an edge over its adversaries has led it to some strange dark places many of which are chronicled in The Men Who Stare at Goats British author Jon Ronson’s real-life account of the U.S. government’s efforts to create an army of “psychic supersoldiers."
If you’re not familiar with the world of psychic warfare (and really why would you be?) the book’s title refers to an experiment conducted during the 1980s at Fort Bragg North Carolina in which specially trained soldiers using methods culled from the top-secret First Earth Battalion Operations Manual attempted to stop the heart of a goat using nothing but the power of the mind. The ultimate goal obviously was to develop the skill for eventual use on enemy combatants.
Chock full of similarly wild yet credible stories The Men Who Stare at Goats’ strange-but-true subject matter lends itself perfectly to film adaptation. Its structure — a disparate collection of loosely related vignettes covering over a 30-year timespan — does not. Nevertheless director Grant Heslov and screenwriter Peter Straughan gave it a shot refashioning the material to such an extent that the movie is no longer “based upon” Ronson’s book but instead merely “inspired by” it.
Thankfully Heslov kept intact two of the book’s greatest strengths: its lively irreverent tone and its fascinating array of colorful characters. The latter is no doubt what attracted the film’s star-studded cast led by George Clooney as Lyn Cassady a fidgety veteran of the “psychic spy” brigade whose chance meeting with journalist Bob Wilton Ronson’s onscreen counterpart (played as an American ironically by U.K. actor Ewan McGregor) provides the catalyst for the storyline.
As Cassady squires Wilton through the Iraqi desert en route he claims to a contracting gig he regales the awe-struck reporter with stories of the New Earth Army and its founder a Vietnam vet-turned-New Age acolyte named Bill Django (Jeff Bridges). In the early '80s Django now a ponytailed flower child managed to obtain Army approval to spearhead a pilot program that would to train a legion of “warrior monks” to read minds pass through walls and disable enemies through a wide variety of non-lethal methods.
Any program like the New Earth Army is bound to attract its share of bad apples amoral folk who aim to use its teachings to enrich themselves and cause harm to others. In The Men Who Stare at Goats the entire rotten orchard is represented by Larry Hooper (Kevin Spacey) a sleazy manipulative charlatan whose devious machinations ultimately serve to bring down the entire operation.
Goats is at its loopy best as Cassady cycles through various off-the-wall anecdotes of Django and his increasingly bizarre training methods. But it falls apart when Heslov attempts to weave it all into a coherent storyline complete with a climax centered on a hairbrained scheme to spike the water supply at an American fort with LSD. It's understandable that Heslov felt compelled to invent something that could bring some resolution to the story but getting everyone high on acid? It sounds like a gimmick stolen from one of the lesser Revenge of the Nerds sequels.
Needless to say that last part wasn’t in Ronson’s book.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.