As devourers of pop culture we're quick to categorize our entertainment for our own safety. Comedy drama thriller sci-fi horror—everything we have the chance to consume has a label to ensure that we know exactly what we're getting.
Occasionally a movie defies classification. While not a revolutionary piece of cinema 50/50 is especially gratifying simply because of its abandonment of genre and the baggage that comes with owning one. The movie starts with a simple inciting incident: one day 27-year-old Adam (Joseph Gordon-Levitt) learns that he has a life-threatening tumor growing on his spine. Of course the news doesn't sit well with the public radio producer who's in the middle of work on an exciting piece for his station just adjusting to living with his girlfriend Rachael (Bryce Dallas Howard) and sees his life as a lengthy exciting prospect. Adam never smokes he waits to cross the street he always tucks his shirts in and keeps his sweater vests tidy—what did he do to deserve this?
But Adam doesn't go on a quest to find his true self or spend days writing a bucket list. He lives his life—and its friends and family who feel the tremors of his disease. Rachael quickly finds herself off balance and unable to cope with Adam's situation while his mother Diane (Anjelica Huston) tries to coddle him finding a new opportunity she never found with her Alzheimer's-stricken husband. His co-workers throw him a guilt-induced party.
At a total loss Adam finds comfort in his pal Kyle (Seth Rogen essentially playing himself) who uplifts his spirits through dedication marijuana and loose women. Nothing seems to out-weigh the punch-in-the-gut feeling of losing his hair to chemotherapy or barely being able to walk around his house without feeling winded but Adam stays afloat thanks to Kyle's incessant goofiness and a newfound friendship in his therapist Katherine (Anna Kendrick). Equally out of water in her new job the two bond over their discovery of humanism in the scientific process of beating cancer and while the growth of their relationship is one of the few things in the film that feels remotely contrived it gives Adam hope in the face of his possibly-fatal surgery.
50/50 isn't sugar sweet nor is it stone cold serious. Director Jonathan Levine allows the events to unfold in a unique and reserved realism allowing the movie to bounce from laugh-out-loud funny (thanks in a large part to Rogen's star talent in a supporting role) to tearjerker drama without any broad segues. Gordon-Levitt has established himself as one of modern cinema's best watchers the type of actor who can float through a picture without making too much a ruckus but who's identifiable and helps us understand his surroundings. But he fits right in to the Apatow-style comedy Rogen and Levine conjure up throughout the movie. In one scene Adam chows down on some pot brownies courtesy of his elderly chemo-mates (Philip Baker Hall and Matt Frewer) leading him to groove around the hospital hall spaced out and loving it. It's an uproarious moment but poignant too—finally Adam can let go of a bit of his grief.
Providing a foundation for 50/50's minimalist tactics are the supporting cast. Howard once again proves her versatility turning an unsympathetic character into a dimensionalized presence. What Rachael does in the film isn't admirable but thanks to Howard's performance not entirely unreasonable. Huston and Kendrick are strong and grounded enough that when Adam begins to check out of life as surgery looms they don't disappear from the film. But it's Rogen who really steals the show perhaps because his friend and 50/50 writer Will Reiser based the movie on their real life experiences but the comedy-first actor steps up later in the film when the weight of reality starts to bring everyone down.
50/50 isn't a comedy or a drama but a portrait of real people surviving real hardships. Shedding a few tears over the course of the film is perfectly acceptable—the jokes are that funny and the emotion that powerful.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.