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.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Much like its Greek mythological source material Wrath of the Titans is light on dramatic characterization sticking to blunt moral lessons and fantastical battles to tell its epic tale. That's perfectly acceptable for its 100 minute run time in which director Jonathan Liebesman (Battle: Los Angeles) unleashes an eclectic hoard of monsters upon his gruff demigod hero Perseus. The creature design is jagged gnarly and exaggerated not unlike a twelve-year-old's sugar high-induced crayon creations — which is perfect as Wrath is tailor made to entertain and enamor that slice of the population.
Clash of the Titans star Sam Worthington once again slips on the sandals to take on a not-quite-based-on-a-myth adventure a mission that pits Perseus against the greatest force in the universe: Kronos formally-incarcerated father of the Gods. A few years after his last adventure Perseus is grieving for his deceased wife and caring for their lone son but a visit from Zeus (Liam Neeson) alerts the warrior to a task even more urgent than his current seabass fishing gig. Irked that the whole Kraken thing didn't work out Hades (Ralph Fiennes) with the help of Zeus' disaffected son Ares (Edgar Ramirez) is preparing to unleash Kronos — and only Perseus has the required machismo to stop him. But Perseus enjoys the simple life and brushes off Zeus forcing the head deity to take matters into his own hands…just as Hades and Ares planned. The diabolical duo capture Zeus and having no one else to turn to Perseus proceeds into battle.
The actual reasoning for all the goings on in Wrath of the Titans tend to drift into the mystical realm of convolution but the ensemble and Liebesman's visual visceral directing techniques keep the messy script speeding along. As soon as one starts wondering why Perseus would ever need to hook up with battle-ready Andromeda (Rosamund Pike) or Poseiden's navigator son Agenor (Toby Kebbell) Liebesman and writers Dan Mazeu and David Johnson throw in another bombastic set piece another three-headed four-armed 10 000-fanged monstrosity on screen. Perseus' journey pits him against a fire-breathing Chimera a set of Cyclopses a shifting labyrinth (complete with Minotaur) and all the dangers that come with Hell itself. The sequences have all the suspense of an action figure sandbox brawl but on a towering IMAX screen they're geeky fun. If only the filler material was a bit more logical and interesting the final product would be the slightest bit memorable.
Liebesman reaps the best performances he possibly can from Wrath's silly formula Worthington again proves himself a charismatic underrated leading man. As the main trio of Gods Neeson Fiennes and Ramirez completely acknowledge how goofy shooting lightning bolts out of their hands must look on screen but they own it with campy fun tones. But the film's overwhelming CG spectacle suffocates the glimmer of great acting opting for slice-and-dice battle scenes over ridiculous (and fun) epic speak nonsense. If a movie has Liam Neeson as the top God it shouldn't chain him up in molten lava shackles for a majority of the time.
Wrath of the Titans is a non-offensive superhero movie treatment of classic heroes that feels more like an exercise in 3D monster modeling than filmmaking. Its 3D makeover never helps the creatures or Perseus pop turning Wrath into an even muddier affair than the single-planed alternative (although unlike Clash of the Titans you won't have 3D shaky-cam blur burned directly into your retinas). The movie reaches for that child sense of wonderment but instead cranks out a picture that may not even hold a child's attention.
Myers’ Guru Pitka could have used a little more back story and a little less shtick. The thin plot has Pitka uttering philosophical piddle like “an eye for an eye leaves everyone blind ” and repeating his mantra “Mariska Hargitay” over and over. But Pitka is not happy with his standing in the spiritual community--especially with the success story of his childhood friend and colleague Deepak Chopra (who cameos in the film). Chopra has been on Oprah for god’s sake! Suddenly Pitka sees the possibility of the fame when Jane (Jessica Alba) the owner of the Toronto Maple Leafs hockey team summons him to help get back her star player Darren’s (Romany Malco) mojo back after his wife Prudence (Meagan Good) leaves him for the legendarily well-endowed L.A. Kings star Jacques “Le Coq” Grande (Justin Timberlake). Pitka’s spiritual mission? Get Darren and Prudence back together in time for the Leafs to win the all-important Stanley Cup. If you’re looking for one-man shows Mike Myers is your man. Clearly the actor is this generation’s Peter Sellers choosing to play characters far from his own persona such as spy Austin Powers or Wayne Campbell. Guru Pitka fits right in. In Love Guru Pitka throws all sorts of self-help mumbo jumbo around hoping some of it sticks. He is like a distant cousin to other Sellers incarnations in films such as The Magic Christian I Love You Alice B. Toklas and particularly his Indian actor Hrundi V. Bakshi in The Party. But Love Guru doesn’t match those films or even any part of the Austin Powers trilogy largely because the gags take precedence over any true character development. For every Bollywood musical takeoff that works there’s a couple of bits that fall flat. It’s hit and miss despite Myers best efforts to sell this show as something more than an SNL sketch. Surrounding the star is the spectacularly unfunny but still beautiful Alba and the surprisingly funny AND beautiful Justin Timberlake who holds his own in the comedy department especially with his broken Canadian accent. Austin Powers sidekick Verne Troyer is back as the not-so-swell coach of the Leafs and he makes a good hockey puck while Ben Kingsley does his thing as the master Guru Tugginmypudha. First-timer Marco Schnabel is credited as director but it’s a good bet star/co-writer (with Graham Gordy) Mike Myers was calling most of the shots; it appears Myers did not have someone behind the camera reigning him in. Too bad. A sharp comedy director could have shaped the film into more than just a series of sight and sound gags designed for quick laughs at the expense of a coherent story. For his first live action film in five years (he does the animated Shrek films in between) it’s a little disappointing The Love Guru isn’t better than it is particularly from the creative mind behind the Austin Powers trilogy. Myers says he came up with this idea while seeking spiritual guidance from Deepak Chopra after his father died. The opportunity for some sharper satire and a stronger storyline is traded for a hit or miss 88 minute skit that has its moments but never finds it’s true Karma.
Set in a world inhabited only by motor vehicles Cars is sort of a cross between Michael J. Fox's Doc Hollywood and NASCAR. The main hero is a hotshot rookie race car named Lightning McQueen (Owen Wilson)--an obvious homage to the late fast-driving Steve McQueen--whose one goal in life is to win the Piston Cup and bask in fame and glory. Yet on his cross-country trip to the Piston Cup Championship in California to compete against two seasoned pros (real-life legendary racer Richard Petty voices the reigning champion The King) Lightning finds himself unexpectedly detoured in the sleepy--and forgotten--Route 66 town of Radiator Springs. There he meets its colorful denizens--including Sally (Bonnie Hunt) a snazzy 2002 Porsche who owns the local “rest” stop; Mater (Larry the Cable Guy) the town’s rusty but trusty tow truck; and Doc Hudson (Paul Newman) a 1951 Hudson Hornet who rules the town with a steady hand er wheel. Together they all help the cocksure Lightning realize that there are more important things than trophies fame and sponsorship. If Pixar calls you come running so it isn’t at all surprising how impressive the Cars vocal line-up is starting with legendary screen icon Newman as the Doc. Come on being the race car driving nut that he is you think the 81-year-old actor would say no to voicing a 1951 Hudson Hornet who has his own mysterious past in the racing world? Hell no. The rest of the cast also seem to have a good time channeling their inner car from Wilson’s snarky speedster to Hunt’s cute and sexy Porsche a big-city lawyer who decides to get out of the fast lane. Supporting voices include Cheech Marin and Tony Shalhoub as Radiator Springs’ low-riding body shop and Italian Fiat tire shop owners respectively. Even George Carlin gets into the act as a groovy ‘60s VW wagon who sells “organic” fuel. Good stuff. Of course what Pixar flick would be complete without its comic relief? Although he’s no Ellen DeGeneres as a short-term memory impaired fish Larry the Cable Guy fills in nicely as the dim but sweet Mater the ultimate hick tow truck. Having been out of the directing loop since his 1999 sequel Toy Story 2 Cars marks Pixar’s golden boy John Lasseter return--and this is his big love letter to the splendor that is the automobile. Of course his demand for perfection took its toll. The animators had to come up with a new technique called “ray tracing ” which allows the car stars--that are metallic and heavily contoured--to credibly reflect their environments. Even with a sophisticated network of 3 000 computers and state-of-the-art lightning-fast processors that operate up to four times faster than they did on The Incredibles the average time to render a single frame of film was 17 hours. Still all that time spent pays off. Cars is a real visual treat with another firm grasp in storytelling. Sure it’s a bit of a vanity project and may shoot way over the kiddies’ heads making them squirm a little during the “slow” parts. But as one of the recently appointed top guns at Disney Lasseter can do just about anything he wants these days--and we are going to love it dammit.