It is my estimation that there are very few people on the fence about seeing a movie about the universe of college a capella. The people who want to see this movie would all but kill to do so — on the other hand there are those who’d rather endure a three-hour documentary on the referendum to criminalize the distribution of lead-based paints. I was hardly in the latter category upon approaching Pitch Perfect. I wholeheartedly enjoyed the seasonal performances of my college’s championship-winning a capella group the Binghamton Crosbys (namedrop). I would happily welcome an influx of musical films to mainstream Hollywood. I really really liked the first season of Glee. I say all this to illustrate how open to the idea of Pitch Perfect I was and how much I really wanted to like the movie. Unfortunately as I would reluctantly acknowledge not long into the picture Pitch Perfect was missing many of its marks. Not all but many.
The movie touts itself not as Glee: The Movie as many on the opposing side are likely to deem it but as something far more self-aware. There are a handful of jokes about the rigid containment of the a capella world’s celebrity with remarks that all the authentically cool kids at the central Barden University exist beyond the confines of the a capella community. Unfortunately while it strives to adopt a self-deprecating attitude toward the tropes of the genre it draws the line at the rejection of the more hackneyed elements of its romantic and interpersonal storylines.
While the story is based in the always-worth-revisiting “be yourself” underdog theme it doesn’t quite execute this idea with full force. The highly talented Anna Kendrick plays Beca a “rebellious” aspiring deejay enticed into the nearly defunct Barden Bellas by well-meaning vet Chloe (Brittany Snow) due to her natural skill for singing but disliked by queen bee Aubrey (Anna Camp) for being just a little too different. But in all honesty she’s hardly different enough to evoke our sympathies. In fact the only outstanding characteristics Beca seems to have is that she’s pretty self-entitled and always a little bit miffed. Still she’s the apple of everyone's eye including the guileless flimsy male lead Jesse (Skylar Astin) who himself is a cherished new member of Barden's rival a capella group the all-male Treblemakers — led by the wickedly obnoxious top dog Bumper (Adam DeVine). Beca and Jesse are meant to found the real emotional crust of the movie; he teaches her about the greats of cinematic soundtracks and about not pushing people away and she... well she doesn't really teach him about anything. Their relationship lacks the real substance that would effectively carry the film based primarily on the fact that they're both cute and microscopically off-center.
And then there are the supporting characters — the Bellas' team of misfits whom we're meant to love. Rebel Wilson leads this pack as the kooky brazen self-decreed Fat Amy. Beside her the sexually-charged Stacie (Alexis Knapp) the quiet psychopath Lilly (Hana Mae Lee) and Cynthia Rose (Ester Dean) whose alluded homosexuality is quite unfortunately the punchline of her character among a few faceless sub-supporting characters. And while the theme does don a sheath of the classic “be yourself” mindset it seems to be more interested in poking fun of these girls and their quirks than it is in celebrating them.
But they do band together they do develop a camaraderie and they do come to compromise their differences in order to better one another and the team. And then comes the final musical number.
See for all of the film's faults there is something it knows how to do: it puts on one hell of a show. As much of a cynical nitpicker as you might be once the Bellas' final performance on the competition mainstage takes way you're bound to enjoy it. Showcasing the individual vocal talents of each of the (primary) singers sewn together in an expertly crafted compilation piece viewers are likely to get a chill or two. This is where Pitch Perfect hits: in its sheer unembarrassed celebration of a capella of music in general and of the girls onscreen. The movie makes the mistake of trying to have it both ways. When it goes for self-deprecation it makes it look all the more unaware of its inherent flaws in plot and character. But in being what plenty of people would be just fine with — an a capella movie that isn't ashamed of loving a capella any more than its over-the-top characters are — it succeeds. Unfortunately this sentiment feels limited to the final performance of the film. But to its credit it's a performance good enough to make up for a whole lot of the stuff that leads up to it.
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!
The film spans the life of John Nash (Russell Crowe)-from mathematical prodigy to delusional schizophrenic to Nobel Prize winner. We first meet John in 1948 and he is entering Princeton University as a graduate student. He rarely goes to class and calculates his mathematical theories on dorm room and library windows. Most of his colleagues steer clear of him except his roommate Charles (Paul Bettany) who tries to lighten him up. John eventually closes in on a hypothesis for an economic theory and becomes a star in the math world. He lands a prestigious position at MIT meets his wife Alicia (Jennifer Connelly) and consults for the Pentagon cracking impossible codes no one else can. He meets William Parcher (Ed Harris) a CIA agent who brings John in on a top-secret government operation to catch Russian spies--or so we think. Unbeknownst to those around him Nash's "beautiful mind" is descending into madness and his grip on reality is fading. Alicia gets him psychiatric help but the drugs and shock therapy dull him so senselessly it's painful to watch. All Nash wants is his mind back so he begins to fight his illness on his own terms. Through the years John's delusions don't necessarily go away but he learns to deal with them sanely. More importantly in Nash's later life he finally gains the respect and admiration he deserves from his peers.
We all know the man can act but Crowe is truly a wonder in this film. He really gets under Nash's skin having obviously studied the real-life mathematician's movements and mannerisms carefully. From Nash's walk to the twitches of the mouth to the eyes that never stop moving he fleshes out a character that melds perfectly with the real Nash. Crowe shows us the horror of being locked in a mind that works brilliantly yet won't let him see things normally. It's a tour de force performance and one richly deserving an Oscar. The other standout in Mind has to be the stunning Connelly. Over the years she's quietly been turning in stellar performances in such films as Requiem for a Dream and Pollock but as Nash's beleaguered wife Alicia she finally gets to shine. At times you are wondering what the heck a beauty like her sees in the weird Nash but Connelly convincingly portrays a woman in love with a man whose mind is great if troubled. Witnessing her torment and anguish over her husband's debilitating illness was moving. In the supporting roles both Harris as the hardened agent and Bettany (so good in this year's A Knight's Tale) as Nash's unconventional friend are also excellent.
A Beautiful Mind quite possibly could be the best thing Ron Howard has ever directed. Not to say he hasn't helmed some very good films such as How the Grinch Stole Christmas or Apollo 13 but Howard has done things in this movie he's never done before. In delving into the mind of a paranoid-schizophrenic he doesn't simply show us a crazy person but lets us experience the madness right along with Nash. Also much like Good Will Hunting Howard makes calculating impossible mathematical problems exciting especially when we are looking at the numbers from Nash's perspective. It seems Howard has matured in his directing style. The film was lush to look at where he uses shadows and light in an amazing way. The script based on a book by Sylvia Nasar was brilliant as well. A great scene has Nash who isn't sure if who he's seeing is real or not turn to a student and ask "Do you see that person there?" When the answer is yes he replies "Good. I'm always wary about people I don't know." The only drawback is the film could have been about a half-hour shorter but no matter. 'Tis the season for 2½ hour movies.
Steven Soderbergh's crime-drama "The Limey" and Alexander Payne's high school satire "Election" led the pack of (relatively) low-budget, high-expectation projects as nominations were announced Wednesday for the 15th Annual Independent Spirit Awards, honoring, yes, indie film.
"The Limey" and "Election" received a field-best five nominations each. Hollywood blockbusters such as "Toy Story 2" and "The Green Mile" received zippo. (They're not indies.)
With the studio heavyweights excluded, a variety of films that failed to garner tremendous box office during the 1999 film season found redemption as the Spirit nominations were handed down. David Lynch's "The Straight Story", a simple yet powerful film about an aging man's trek across country on his lawn mower, earned four nominations. Kimberly Peirce's controversial "Boys Don't Cry" also received four nods -- including ones for best lead actress (Hilary Swank) and best supporting female (Chloe Sevigny).
The five films slated to do battle in the main best-picture event are: Payne's "Election," Soderbergh's "The Limey," Lynch's "The Straight Story," Allison Anders and Kurt Voss' "Sugar Town", and Robert Altman's "Cookie's Fortune".
Awards will be handed out in Santa Monica on March 25 -- the day before the Oscars. The Spirits are sponsored by the Independent Feature Project/West.
The following is the complete list of nominations for the 15th annual IFP/West Independent Spirit Awards:
BEST FEATURE "Election" "The Straight Story" "The Limey" "Cookie's Fortune" "Sugar Town"
BEST FEMALE LEAD Diane Lane, "Walk on the Moon" Janet McTeer, "Tumbleweeds" Hilary Swank, "Boys Don't Cry" Susan Traylor, "Valerie Flake" Reese Witherspoon, "Election"
BEST MALE LEAD John Cusack, "Being John Malkovich" Richard Farnsworth, "The Straight Story" Terence Stamp, "The Limey" David Strathairn, "Limbo" Noble Willingham, "The Corndog Man"
BEST SUPPORTING FEMALE Barbara Barrie, "Judy Berlin" Vanessa Martinez, "Limbo" Sarah Polley, "Go" Chloe Sevigny, "Boys Don't Cry" Jean Smart, "Guinevere"
BEST SUPPORTING MALE Charles S. Dutton, "Cookie's Fortune" Luis Guzman, "The Limey" Terrence Howard, "The Best Man" Clark Gregg, "The Adventures of Sebastian Cole" Steve Zahn, "Happy, Texas"
BEST DIRECTOR Alexander Payne, "Election" Harmony Korine, "julien donkey-boy" Steven Soderbergh, "The Limey" David Lynch, "The Straight Story" Doug Liman, "Go"
BEST SCREENPLAY Kevin Smith, "Dogma" Alexander Payne and Jim Taylor, "Election" Audrey Wells, "Guinevere" Lem Dobbs, "The Limey" James Merendino, "SLC Punk!"
BEST FIRST FEATURE ($500,000-plus budget) "Being John Malkovich" "Three Seasons" "Boys Don't Cry" "Twin Falls Idaho" "Xiu Xiu the Sent Down Girl"
BEST FIRST FEATURE (less than $500,000 budget) "The Blair Witch Project" "La Ciudad" "Compensation" "Judy Berlin" "Treasure Island"
BEST DEBUT PERFORMANCE Kimberly J. Brown, "Tumbleweeds" Jessica Campbell, "Election" Jade Gordon, "Sugar Town" Toby Smith, "Drylongso" Chris Stafford, "Edge of Seventeen"
BEST FIRST SCREENPLAY Tod Williams, "The Adventures of Sebastian Cole" Charlie Kaufman, "Being John Malkovich" Kimberly Peirce and Andy Bienen, "Boys Don't Cry" Anne Rapp, "Cookie's Fortune" John Roach and Mary Sweeney, "The Straight Story"
BEST CINEMATOGRAPHER M. David Mullen, "Twin Falls Idaho" Lisa Rinzler, "Three Seasons" Anthony Dod Mantle, "julien donkey-boy" Jeffrey Seckendorf, "Judy Berlin" Harlan Bosmajian, "La Ciudad"
BEST FOREIGN FILM "All About My Mother" (Spain) "Run Lola Run" (Germany) "My Son the Fanatic" (England) "Topsy-Turvy" (England) "Rosetta" (Belgium-France)
DLJ DIRECT TRUER THAN FICTION AWARD (for documentaries) Owsley Brown, "Night Waltz: The Music of Paul Bowles" Nanette Burstein and Brett Morgan, "On the Ropes" Michael Camerini and Shari Robertson, "Well Founded Fear" Rory Kennedy, "American Hollow"
MOVADO SOMEONE TO WATCH AWARD (for new directors) Dan Clark, "The Item" Julian Goldberger, "Trans" Lisanne Skyler, "Getting to Know You" Cauleen Smith, "Drylongso"
MOTOROLA PRODUCERS AWARD Pam Koffler, "I'm Losing You" and "Office Killer" Eva Kolodner, "Boys Don't Cry" and "Hide and Seek" Paul Mezey, "La Ciudad" Christine Walker, "Backroads" and "Homo Heights"