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.
In the dialogue-free opening sequence of Shame director Steve McQueen introduces us to Brandon (Michael Fassbender) a handsome New Yorker who goes through a morning routine tackles the responsibilities of his high profile day job socializes with co-workers and all the while struggles with an insatiable desire for sexual pleasure. As the strings of composer Harry Escott's score swell we see Brandon in two scenarios: holding back from advancing on a beautiful young subway-rider and succumbing to carnal instinct with the help of a prostitute. It's a powerful setup for Fassbender's breathtaking performance which ranks among the best of the year.
Shame forcefully declares that sex addiction is just as tangible devastating and perplexing as any drug or alcohol problem but does so without didactic lessons or over-the-top indulgences. Fassbender's Brandon is on the other end of the spectrum from Nicolas Cage's crazed alcoholic character in Leaving Las Vegas with McQueen breaking long stretches of repression with harrowing moments of emotionless lust. The film works as a character portrait following Brandon as he finds himself falling deeper and deeper into the rabbit hole and witnessing the effects of his descent on the people around him. Picking up women isn't a problem for the dashing gent—he does so with ease on many an occasion—but when he tries dating the one woman he has feelings for he's void of sexual stamina. Unfortunately even in the sprawling city of New York there's no outlet for Brandon to confide in—his work buddies are all looking for an easy lay and his sister Sissy (Carey Mulligan) who shows up at his door one inopportune day has a heap of her own problems.
McQueen shoots Shame with precision that never feels staged each scene camera angle and directorial choice amplifying Brandon's dizzying situation Whether Brandon's entranced by Sissy's passionate rendition of "New York New York " working off his own sexual frustration with a quick jog or seducing a barfly's girlfriend at a hole-in-the-wall joint Fassbender and McQueen work in perfect tandem to bring the audience into the struggle. You will feel the raw power of Brandon unleashing his sex drive and you will feel the sadness behind Fassbender's face as he drifts alone through the city streets. Both moods are powerful moving and true.
Shame doesn't have an easy-to-swallow narrative a real beginning or an end. When you expect things to align into a traditional structure McQueen and screenwriter Abi Morgan subvert expectations—as life often does. What keeps us engrossed is Fassbender who can pull off the balancing act of suave and broken without tipping us off that he's acting at all. Shame received an NC-17 rating because of its racy imagery but the real maturity on display in the film is the bare bones depiction of human behavior.
Andrew Largeman (Zach Braff) is an actor in L.A. who has been so out of it lately the only roles he's been scoring are of handicapped people as he says. This is because he has been a walking zombie since he started taking antidepressant and anger-reducing prescription drugs at the age of nine. We watch Andrew slowly come out of his lithium-induced coma on a trip back to his hometown of none other than the Garden State of New Jersey. While the reason for the trip is to attend the funeral of his depressed paraplegic mother "Large " as he's called ends up riding a roller coaster of self-discovery through encounters with old friends and new loves. Mark (Peter Sarsgaard) who appears to be Large's closest buddy is what Dave Matthews would refer to as a "gravedigger " and what the police force would refer to as a "grave robber." Mark's thievish tendencies lead him Large and their friend Sam (Natalie Portman) on a wild goose chase during which time Large opens up to discovering new things thanks to his recent sobriety and the intense connection that he's developed with Sam. The only blemish on this kooky and unique film is its cop-out cheesy ending that carelessly ties together the otherwise exceptional ends of State. But the soundtrack makes up for it.
J.D. trades in his Scrubs for a sweatshirt Natalie Portman and some serious soul-searching. We get to see a whole new side of Braff through his slightly lost character Large--and love every bit of it. The dialogue between Large and Sam is so conversational it hardly feels like you're watching a scripted film. Writer/director/actor Braff's grasp of his character and the movie as a whole shines brilliantly through every last scene. Portman no doubt received first-rate direction evident through her infusion of audacity warmth and quirkiness into her appropriately odd character Sam. She does an excellent job providing the blast of sunshine needed to lighten up Large's previously gloomy existence. Sarsgaard takes control of his character Mark as well as his costars with a Jack Black-like attitude. Despite his mother's constant nagging him to get a job he is a proud stoner slacker--portraying his disreputable hobbies even more pathetically on the big screen than one might imagine. Every character we meet in State has a distinct association with Large allowing Braff's magic to extend to each actor in the film through his unmatched acting and directing skills.
The first time's a charm: Garden State marks Zach Braff's feature writing and directorial debut. Known best as J.D. the leading role on NBC's hit series Scrubs Braff's incontestable moviemaking abilities have been exposed all at once; he apparently connected really well with his costars as they all delivered worthy performances. On the film's official site Portman describes working with Braff as "really open to collaborate efforts." Even in a scene involving the drug ecstasy at a party in which Large is seated in an unchanged position on a couch for the duration of a night the music and camera shots make it one of the most memorable scenes of the film. Clearly Braff is a gifted filmmaker and the impressive State is only the beginning.