Take This Waltz is beautiful maddening and sexy just like its protagonist Margot (Michelle Williams). Margot speaks like a toddler to her husband Lou (Seth Rogen). She's moody but playful and she has cutesy and symbolic neuroses like insisting on taking a wheelchair at the airport because trying to make her flight is the sort of limbo that makes her anxious. As she explains to a handsome stranger named Daniel (Luke Kirby) she's afraid of connections she's afraid she'll get lost and no one will ever find her. Almost everything about her is childish from her bright yellow raincoat to her junior high insults ("retard " "gaylord") to her shrieking embarrassment when she pees in the pool during a water exercise class.
"What's the matter with you " asks Daniel "generally?" That's the crux of the movie. What is the matter with Margot? Even Margot doesn't know the root of her restlessness. It seems the only person willing to call her on it is her sister-in-law Geraldine an alcoholic in recovery who is already anticipating her own failure.
Take This Waltz relies heavily on chance and metaphor but the emotional intensity can make you willing to take that leap. Williams carries the film as Margot while Rogen gets an excellent chance to show his emotional side as Lou a lovable bear of a man. Kirby plays Daniel with an easy heady sexuality that makes Margot's decision understandably difficult. Sarah Silverman drops her bad girl comedian persona and really shines as acerbic but insightful Geraldine.
After Daniel and Margot meet at a historic village (she's rewriting the tour book for the tourist destination and he's who knows a fan of colonial history) Daniel is seated next to her on the plane. He also happens to live down the street from her and Lou. By the time he's began to wonder what Margot's deal really is they're knee deep in a heated emotional affair. Their attraction is immediate and palpable an irresistible force felt off screen. Daniel verbally consummates their affair with an unforgettably hot monologue.
Lou on the other hand isn't quite on the same page as Margot when it comes to their sex life or future children. He's knee-deep in a chicken cookbook so the couple and their family and friends eat almost nothing but different chicken dishes at every mean. You can only eat so much chicken right? Daniel on the other hand is new. "New things are shiny " Geraldine tells her in the communal gym shower as the women are soaping up after that pool incident. "New things get old " comments a woman nearby. This is one of the strongest scenes in the movie where women of all ages shapes and colors scrub down unapologetically and talk amongst themselves in a private/public space.
Take This Waltz is a more realistic portrayal of an erratic young woman who in a different writer's hands would be one of those Manic Pixie Dream Girls. Even though Margot wears adorable onesies and has the playfulness of a child she also hurts a lot of people and is screwed up for no apparent reason. It's not always clear why these men are attracted to her and you can tell they aren't sure themselves but it's interesting and painful to watch it all unfold. Take This Waltz is beautifully shot full of buttery sunlight and lush parks and sweetly decorated abodes. Polley rolled the dice on a difficult protagonist and comes up a winner.
In the last seven years Denzel Washington has paired with director Tony Scott on four hyperkinetic ultra-saturated feature films: Man on Fire Deja Vu The Taking of Pelham 1 2 3 and Unstoppable. When he strays from the time-honored action collaboration you'd think the man would take a break from the format. Not so—as Washington's new film Safe House clearly demonstrates.
Daniel Espinosa director of the acclaimed Swedish crime drama Snabba Cash shoots his espionage thriller with Scott-ian flair complete with rapid camera movement a palette of eye-scorchingly bright colors and fragmented editing. If Safe House was emotionally compelling the stylistic approach might make the narrative sizzle—but the script is as simple and familiar as they come: Matt Weston (Ryan Reynolds) is a CIA agent with a monotonous gig. He's a safe housekeeper tasked with maintaining a stronghold in South Africa in case the feds need to stop by for some…interrogating. After a year of begging for field work and keeping the joint tidy Weston finds himself embroiled in the investigation of Tobin Bell (Denzel Washington) an ex-CIA notorious for selling information on the black market. A group of agents bring Bell in to Weston's safe house for a routine waterboarding but everything is thrown into chaos when the lockdown is infiltrated by machine-wielding baddies looking to put a bullet in Bell's head. To keep the captor alive Weston goes on the run with Bell in hand…never knowing exactly why everyone wants the guy dead.
The setup for Safe House provides Washington and Reynolds two fully capable action stars to do their thing and to do it well. The two characters have their own defining characteristics that each actor bites off with ferocity: Reynolds' Weston is a man drowning in circumstance built to kick ass but still out of his league and just hoping to get back to his gal in one piece. Bell has years of experience boring into the heads of his opponents and Washington plays him with the necessary charisma and confidence that make even his most despicable characters a treat to watch.
But the duo fight a losing battle in Safe House contending with the script's meandering action and ambiguous stakes that turn the Bourne-esque thriller into a grueling experience. Much of the movie is an extended chase scene where the object of the bad guys' desire is never identified. It's a mystery!—but the lack of info comes off as confusing. Safe House cuts back and forth between the compelling relationship between Weston and Bell and a war room full of exceptional actors (Vera Farmiga Brendan Gleeson and Sam Shepherd) given nothing to do but spurt straightforward backstory and typical "there's no time Mr. ______!" exclamatory statements. Caking it is Espinosa's direction which lacks any sense of coherent geography. The action is never intense because you have no idea who is going where and when and why.
Safe House is a competently made movie with enough talent to keep it afloat but without any definable hook or dramatic emphasis it plays out like an undercooked version of the Denzel Washington/Tony Scott formula. Which is unfortunate as four solid ones already exist.