There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
We live in an age where six-year-olds have iPhones most of our possessions live in a "cloud" and even the refrigerator connects to the Internet. Like it or not technology has infused itself into every aspect of our lives—so it seems appropriate (and terrifying) that even Santa Claus' gift delivery operation would upgrade to the 2.0 world. Arthur Christmas the latest film from Aardman Animation (the Wallace & Gromit films Chicken Run) introduces us to the newfangled operation. These days Santa (Jim Broadbent) is just a figurehead for a full-scale war game run by the militant Steve (Hugh Laurie) and his band of black ops elves who cruise the December skies in their souped up spaceship sleigh. Business is conducted in the most controlled manner with each elf equipped with dog food launchers and back-up tape dispensers in case of any on-ground mishaps. On the sidelines is Arthur (James McAvoy) a bumbling black sheep who outweighs the entire force in Christmas spirit but can barely stand on two feet.
The opening deliver sequence is expertly directed by Sarah Smith whose action is reminiscent of the highly energized Ratatouille injected with the quirky British humor one would expect from Aardman. But the dazzling setup doesn't turn Arthur Christmas into a bombastic holiday riff instead using its lead to dig underneath the 2.0 landscape to find true magic. When one present goes undelivered Arthur stands up against his complacent family members to right the holiday wrongs. The anxiety-ridden younger son teams up with his Grandsanta (Bill Nighy) and an eager wrapper elf Bryony (Ashley Jensen) hitching up the classic sleigh and venturing into the great unknown all in the name of a young girl who might wake up gift-less.
The trio's adventure takes them around the globe from the busy streets of Toronto to a colorful Mexican town to the planes of an African wildlife preserve. With each wrong turn and each obstacle to overcome (outrunning a pack of lions while wearing reindeer slippers is no easy feat) Arthur's belief in the greatness of Santa and the wonders of the Christmas are tested. For kids it might be a familiar existential crisis but the warmth that accompanies Arthur's triumphant spirit should resonate with those young and old. That's an achievement in a Christmas movie but Smith's delicate balance of sentimentality and over-the-top humor blend and keep the movie moving at lightning speed.
The movie's 3D animation and stereoscopic display are top-notch but the real extra dimension comes from the cast. Aardman has a knack for realizing characters supporting or leads who feel fully developed—and Arthur Christmas is no exception. Smith and writer Peter Baynham (Borat Arthur) know when you trap the Claus family in the result will be brilliance: Steve commanding the floor Grandsanta telling "when I was young" stories Santa falling asleep Mrs. Claus (Imelda Staunton) keeping the peace and Arthur reminding everyone that it's Christmas. That's as real as actual Christmas dinner gets. The elves of the North Pole are equally eclectic and odd—even with hundreds of workers scurrying around the ship each one gets their time to land a joke. Overlaid on the rousing tale his a whimsical score by Harry Gregson-Williams that much like his work on Narnia feels simultaneously fantastical and exhilarating (as any good sleigh ride should).
There are so many Christmas movies in the pantheon of the season that it's almost unimaginable that another could slip in without relying on a gimmick or cynical spin but Arthur Christmas is as warm fuzzy and hilarious as they come. Crafted with authentic joy performed by lively voice actors and subtly imbued with jokes for all ages (no frame goes by without at least one sight or pun gag) those who catch it this year may find themselves returning every season. It's just that nice.
Dave Johnson’s (Morris Chestnut) dreams of playing in the major leagues have long been dashed and now he’s left to coach Little League and try to make a go of his modest construction firm. He’s a good guy but after more than a decade of marriage he’s is constantly harassed by his successful realtor/wife Clarice (Taraji P. Henson) and her obnoxious mother Mary (Jenifer Lewis). A tragic automobile accident brings things to a marital boiling point -- Clarice becomes housebound with severe leg injuries and Dave just might be attracted to the physical therapist Julie (Maeve Quinlan) a white single mother who has arrived to help out. Based on T.D. Jakes’ religious themed book Woman Thou Art Loosed this intense and old fashioned drama offers some meaty roles to some fine actors and they run with the opportunity -- particularly Chestnut who displays such warmth and likeability he seems almost too good to be true. Henson (The Curious Case Of Benjamin Button Hustle and Flow) has had a few good screen outings of late but probably could have taken it down just a notch to make Clarice just a little more empathetic. You almost wonder how poor Dave has lasted so long with this woman. Ditto Lewis. On the other hand the warm and understanding Quinlan is the perfect counterpoint pointing out a real crisis of conscience for Dave. Welcome comic relief comes in the form of his buddies Eddie Cibrian and particularly the highly amusing Kevin Hart. And watch for a restaurant-scene cameo by Jakes. Fortunately actor turned director Bill Duke knows how to rein in this tricky marital story and make its most important message -- tolerance and perseverance in relationships --somehow ring true. There may not be a whole lot of subtlety in this particular tale (or many of Jakes books in general) but it’s an agreeable and engrossing affair that’s worthy of attention from anyone involved in a long term relationship. And it’s certainly refreshing for once to see this kind of romantic drama played out almost entirely from the male point of view.
Yet another in a LONG line of teenage sex comedies this one manages somehow to be fresh and appealing -- despite the formu-lay-ic premise. That’s right another horny 18 year-old boy (Josh Zuckerman) is determined to lose his virginity any way he can. Ian can’t seem to become a “man ” upstaged by a Lothario of an older brother Rex (James Marsden) and his even more successful 14 year-old younger brother. He is constantly humiliated by the giant donut costume he wears for his job at the mall and can’t even get to first base with Felicia (Amanda Crew) a girl who thinks of him only as her best friend and nothing more. With the pressure of going to college as a sexual outcast what’s a hot-to-trot young dude to do? In this case -- using encouragement from pal Lance (Clark Duke) and with Felicia along for the ride -- the threesome take off in the unsuspecting Rex’s prized Pontiac GTO for a cross-country drive Ian thinks will end with the payoff of sex with a hot blonde named Ms. Tasty (Katrina Bowden) he met on the Internet. Unfortunately the one-day outing turns into a three-day nightmare for the trio with brother Rex on their trail and friend Lance getting a little too cocksure for his own good. Oh and did we forget to mention the Amish farm they manage to work into the tour? In the obligatory Jason Biggs role Josh Zuckerman is totally winning as a sex-starved high school graduate looking desperately to tame his out-of-control libido. With sharp comic timing and no end to the ways he is willing to humiliate himself for the sake of his art Zuckerman should have a bright future. Although the casting of his friend Lance played by the pudgy Duke would seem to be an attempt to emulate the Michael Cera/Jonah Hill teaming of Superbad Duke’s go-for-the-big laughs approach feels like we are seeing this kind of goosed-up sex maniac act for the first time. As the female “best friend” Felicia Amanda Crew is very appealing and thankfully grounded in reality. Marsden is hilarious as dopey Rex who prizes his vintage GTO and his own sexual prowess even more than the love of little bro. Seth Green has some funny bits as the sarcastic Amish man who somehow seems to know how to fix hot rods. Bowden is gorgeous and devious as the Internet hottie who may not be all Ian hoped for. Special mention also to Charlie McDermott and Mark Young who as a recurring kind of geek chorus playing two inept high school girl magnets. NOT. Director and co-screenwriter (with John Morris) Sean Anders manages to infuse what could have been a stale leftover piece of American Pie with new life and that’s largely thanks to some very funny VERY raunchy situations he dreams up for these likeable and recognizable characters. The premise of a so-called Sex Drive also offers ripe opportunities in this genre and Anders gets a lot of play out of it particularly from Duke whose uninhibited acting grabs most of the big laughs. Although they crank the gross factor way up the film doesn’t lose sight that it’s mostly a coming-of-age comic look at a rite of passage most young guys -- and girls -- will identify with. Although much is predictable Sex Drive has a strong sense of what it wants to be and in the end even turns sweetly romantic something most films of this stripe rarely do.