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.
The age-old debate over fate vs. free will has been and always will be a tough theme to crack in any medium but with the benefits of modern filmmaking technology the theory can be explored in ways that Philip K. Dick never imagined. However when one relies too heavily on spectacle to tell a story a piece of cerebral science fiction can quickly become just another action extravaganza. In this day and age there’s a fine line between the two; The Matrix walked that tightrope with style and grace while Next never found its footing in the first place. Fortunately the precious work of novelist Dick has for the most part been treated with respect by Hollywood (the aforementioned Nic Cage dud notwithstanding) but that doesn’t necessarily mean movies based on his stories are completely faithful to his vision.
Case in point: George Nolfi’s directorial debut The Adjustment Bureau an adaptation of Dick’s short story “Adjustment Team.” The film stars Matt Damon as David Norris a successful businessman and rising political candidate who after a chance encounter with the girl of his dreams (Emily Blunt) loses a crucial election. He happens to run into her on a Manhattan bus the following week before finding his office swarming with masked men who are “adjusting” everyone inside. Richardson (John Slattery) the man in charge captures Norris who unsuccessfully flees the scene after seeing behind “a curtain he wasn’t even supposed to know existed” as the enigmatic figure puts it. From that point on Norris must live with the knowledge that he (and we for that matter) is not in control of his own life. Rather the choices he makes fit perfectly into “The Plan” that’s been written by “the Chairman”.
In relation to my earlier statement I have to say that Nolfi’s picture looks stunning but his natural urban aesthetic doesn’t overpower the story. Sleek contemporary production design and elegant costumes characterize the high-concept story and the wraithlike agents who shape our destinies. Topically we’re dealing with some heavy material but Nolfi and editor Jay Rabinowitz move the action along at a brisk pace that keeps you engaged and entertained without having to try. The film is properly proportioned as a chase thriller romantic adventure and sci-fi fantasy and thankfully no component overshadows another.
Setting the film in the world of politics and big business helps make its larger-than-life revelations a bit more accessible (as do appearances from Michael Bloomberg Jon Stewart and Chuck Scarborough) while providing sub-text about the corruption involved in elections and campaigns (there are conspicuous shades of The Manchurian Candidate in the movie) but the writer-director often tries too hard for broad appeal. For a film with existential implications as severe as they are here the dialogue is at times hokey and superficial. Dick’s source material is far more abstract and Nolfi for the sake of commercial success panders to the palette of soccer moms and mallrats.
What’s worse is his unwarranted exposition of the Bureau a shadowy organization whose major allure is anonymity. Some secrets are best kept and less can be so much more when crafting a mysterious atmosphere; Nolfi reaches that level of magnetic curiosity but squanders it as he reveals the truth about the Bureau and its grand scheme. On the other hand he brushes over the technical lingo between agents Harry Mitchell (Anthony Mackie) McCrady (Anthony Ruivivar) and others without explanation perhaps hoping that the ambiguous terminology will fool you into thinking that his script is smarter than it really is.
Even though Nolfi’s allegorical conclusions are uncomfortably ham-fisted the chemistry between Damon and Blunt alone is enough to enchant you; this is one highly watchable cinematic pairing that should be revisited as soon as possible. Their innocent relationship blossoms organically and together they make it seem as natural on screen as it is for their star-crossed characters. Even if you have a hard time believing in higher powers or manipulative Orwellian forces you’ll have faith in David and Elise’s fated relationship one of the most captivating couplings I’ve seen on the big-screen in some time.
If the legendary Scottish Loch Ness monster exists Water Horse imagines how he may have come to be. Based on the book by Dick King-Smith and set during WWII it all starts when Angus (Alex Etel)--a young Scottish lad living with his housekeeper mother (Emily Watson) on an estate while his father fights in the war--finds an enchanted egg by the shores of the local lake. Thinking it another crustacean he takes it home but soon finds himself face-to-face with an amazing creature: the mythical "water horse" of Scottish lore whom Angus calls “Crusoe.” As Angus becomes attached to his new friend the young boy does everything he can to keep Crusoe a secret even as the animal grows abnormally large over a short period of time. With the help of a handyman (Ben Chaplin) Angus soon has to put Crusoe into the lake so he can live comfortably. But outside influences conspire to expose Crusoe--even threaten his life--and Angus risks everything to help his friend. Young Etel expertly carries Water Horse on his small shoulders proving his stellar performance in Danny Boyle’s Millions wasn’t a fluke. He never goes over the top or tries to play it with too much sweetness and light. Instead Etel is a complete natural convincingly interacting with a green-screened creature and most importantly conveys all the right emotions to get the audience just as wrapped up in the sea monster’s plight as he is. The rest of the cast however is a bit misplaced. Watson is mostly wasted as the mother hardened by war who can’t bring herself to tell her young son the truth about his father. The Oscar-nominated actress is simply too good for something this childish. Meanwhile Chaplin (The Truth About Cats and Dogs) doesn’t really connect with his character a soldier who returns home after being wounded only to wander the country working aimless jobs. The only adult actor who stands out is veteran Brit Brian Cox. As the film’s narrator he plays an old pub patron who tells the true story of Crusoe after two American tourists spy the now-infamous “photo” of the Loch Ness monster. It’s the constant twinkle in his eyes that gets you. Director Jay Russell has a key into family fare having helmed films such as My Dog Skip and Tuck Everlasting so there is an ease to his direction in Water Horse. He guides his young star to deliver an unaffected performance and handles the special effects with a sure hand. Crusoe is awfully cute when he’s a youngster flopping around and making a mess of things. Then when he’s full grown he is quite impressive. The moment Angus faces his fear of water climbs on Crusoe’s back and lets the creature take him for a deep-diving swim in the lake we are hooked by the exhilaration of it. Unfortunately there is also a level of predictability to Water Horse especially when it comes time for Crusoe to escape the lake into open waters before he is killed by the local militia. Not too hard to figure how it all ends up.
As clever as it can be at times Flushed Away’s plot is still formulaically step by step. Step one: Introduce hero one Roderick St. James (Hugh Jackman) aka Roddy a pampered but lonely pet mouse who lives in a posh Kensington flat in London. Step two: Propel Roddy into the utterly foreign world of the city’s sewers by flushing him down the toilet. Step three: Hook him up with a cute renegade mouse named Rita (Kate Winslet) with a nifty boat who makes a pact with Roddy to take him back to his home in exchange for some riches she can use to help her extended family (32 brothers and sisters to be exact). Step four: Have the two of them then outwit the villainous Toad (Ian McKellen) mob kingpin of the sewer city Ratropolis after discovering his dastardly plan to rid the sewers of the rats. Step five: Happy ending. Not too complicated. We’ve got a mostly British A-list this time around and everyone sounds enthused to be indulging in the make-up free come-in-your-sweats fun of vocal work. Jackman infuses Roddy with the appropriate upper crustiness but who soon warms to his surroundings—and his new friend especially since he’s never really had any friends before. Winslet’s Rita is all pluck and spunk with a keen fashion sense and big mouse ears while McKellen’s malevolent frog is a big blowhard with a goiter. But as is the case with these animated films the side characters provide the laughs. There’s Toad’s main hench-rats—Whitey (a very deep-voiced Bill Nighy) an ex-laboratory rat who’s experimental shampooings have left him bald and an albino and Sid (Andy Serkis) a wiry weasel who is not nearly as tough as he purports to be. Toad’s French cousin Le Frog (Jean Reno) a cross between Jackie Chan and Inspector Clouseau is also hilarious. The best part however are the sewer slugs who don’t say much but rather add any musical accompaniment deemed necessary. Aardman Productions and DreamWorks the same folks who gave us Wallace and Gromit movies seem to have perfected the clay animation techniques and incorporated a lot more CGI. Flushed Away is definitely more polished than the W&G’s but the big teeth and general sardonic British sensibilities are all still there. The sewer life is visually bustling using everyday items to create their world such as the bad guys riding hand mixers as wave runners to chase after Rita’s boat. Plus the film is loaded with enough funny pop culture references to keep the adults laughing (thank YOU Shrek!) For example when Roddy is zooming his way down the water pipes he sees a yellow striped fish who asks “Have you seen my dad?” Nope there really isn’t anything inherently wrong with Flushed Away save for an overdone plot. Kids and parents alike should enjoy themselves.
It's been a long time since John Lennon was gunned down in front of apartment building in New York City and even longer since Richard Nixon held office but U.S. vs. John Lennon focuses on how the then U.S. president tried to pull out all stops to discredit the famous Beatle and get him thrown out of the country. Ironically although three decades old this story seems like a fairly timely indictment on the Bush administration as it looks at how right-wing fanatics label anti-war protestors as un-American even though free speech is what this country is founded on as Lennon points out. Nixon's henchman J. Edgar Hoover tried drumming up all sorts of smut on Lennon. He and Yoko Ono were bugged followed threatened and nearly deported. Along the way Lennon became a bit paranoid and myopic even as he was opening his life to the press and offering interviews while in bed. Some of the more important pundits during the Vietnam War era are trotted out to give some perspective. Injured war veteran Ron Kovic Watergate journalist Carl Bernstein protestor Angela Davis writer Gore Vidal and a mellow Bobby Seale are among those who talk about what the world was like in the 1970s the end of the hippie era and the crackdown by the government. For the conservative side the only voice heard is G. Gordon Liddy Nixon’s former White House staff who comes across as creepy and unsympathetic and even criticizes the Kent State shooting victims as students who got in the way and should have known what was coming. Some of the most fascinating moments are the footage from Ono’s private vault showing Lennon as a passionate and often angry guy who was alternately confused and amused by anger directed at him for preaching peace. Filmmakers David Leaf and John Scheinfeld offer a very biased viewpoint as they play heavily on the anti-war images and how it is relevant today. They don’t really explore any of Lennon's troubles with the break-up of the Beatles or the criticism of Ono which were going on around the same time. No U.S. vs. John Lennon is about one thing and one thing only: Lennon’s public fight to keep his visa and remain in the U.S. while exercising his right to protest. The documentary is illuminating timely and almost as frightening as Al Gore's global warming Inconvenient Truth. There’s Lennon on the Dick Cavett and Mike Douglas shows as well as footage of the ex-Beatle being attacked by a reporter which he handled with a bemused calmness. Although it isn't as dire or as apocalyptic U.S. vs. John Lennon is just as important. Lennon ultimately did give peace a chance.