We Bought a Zoo opens with the voice of Dylan Mee (Colin Ford) narrating glimpses of his journalist father Benjamin's (Matt Damon) worldly adventures. Ben's been embedded with violent dictators covered with killer bees and flown through the eye of a hurricane but as Dylan explicitly states "nothing prepared him for this one"—the "this one" being the titular purchasing of a zoo on the brink of closure. Director Cameron Crowe (Jerry Maguire Almost Famous) has never been one for subtly but that's never been the goal. We Bought a Zoo drops the cynicism wears its heart on its sleeve and doesn't mind laying it on thick in an effort to move you which it does—whether you like it or not.
Six months after his wife's death Ben still doesn't have a grasp on how to be a good parent. He struggles to throw together bagged lunches for his daughter Rosie (Maggie Elizabeth Jones) watches Dylan downward spiral into school expulsion reluctantly accepts lasagnas from the sympathetic family friends and grieves over iPhoto montages of a life that once was. Every corner of his home conjures up familial memories prompting Ben to hightail it out of town. After a desperate house hunt Ben sets his sights on a stunning country home that comes with one twist: it's the home to lions and tiger and bears (oh my!).
Along with its diverse collection of fauna Ben's new zoo sports a colorful cast of staff members including Peter MacCready the temperamental Scottish maintenance man Robin the laid-back handyman with a monkey on his shoulder and Kelly the young committed animal handler (Scarlett Johansson). Ben inspires his team with motivational speeches (and signed checks) and together they work to rebuild and reopen the park.
We Bought a Zoo explores its themes of loss and renewal on the surface with cartoony characters hammy dialogue and a score by Jónsi of Sigur Rós that steers you towards an emotional destination. But it all works thanks in large part to Matt Damon's charm and a general air of niceness to the whole package. Damon is one of the few stars capable of playing a Regular Joe. Watching him have his butt kicked by zoo chores is delightful while he adds true gravity to the dramatic moments. Whether he's butting heads with his morose son in a screaming match or tearing up over his inescapable past Damon digs deeper than Crowe and Aline Brosh McKenna's (The Devil Wears Prada 27 Dresses) screenplay. The rest of the cast manages to elevate the material too—Johansson keeps herself down to Earth; Thomas Haden Church as Ben's skeptical brother Duncan knocks every joke out of the park; And the young Elle Fanning inspires once again as Kelly's bubbly tween cousin who falls for the disgruntled Dylan (although no one seems to have a problem with a 12-year-old spending her days working/living at a zoo; her parents are completely out of the picture).
The movie doesn't take unexpected turns or make profound statements but it succeeds in its goal of tugging the audience's heartstrings. The world of We Bought a Zoo is one where everything works out if you persevere have hope and open yourself up to love. That's not reality but rather inspirational thinking. Perfect for the holiday season.
From the moment Hailee Steinfeld enters the frame in Joel and Ethan Coen’s magnificent western True Grit an adaptation of Charles Portis’ 1968 novel (or re-adaptation — John Wayne's 1969 version got to it first) the film belongs to her. This is no easy feat especially for a 13-year-old actress making her feature-film debut but Steinfeld not only holds her own alongside such heavyweights as Jeff Bridges Matt Damon and Josh Brolin she often upstages them.
The film which is set in the 1870s stars Steinfeld as Mattie Ross a pigtailed 14-year-old sent to the frontier town of Fort Smith Arkansas to settle the affairs of her deceased father an honorable man murdered for two gold pieces by a monstrous simpleton named Tom Chaney (Brolin). Mattie also comes seeking justice: Chaney is still at large having escaped to the dangerous foreboding expanse of the Indian Territory and she intends to see to it that he is captured and brought to trial.
Frustrated by the local authorities’ ambivalence toward tracking down her father's killer Mattie turns to Rooster Cogburn (Bridges) a slovenly alcoholic U.S. Marshal renowned for his cruelty and itchy trigger finger. Were there a Miranda warning in 1870s Cogburn would have little use for it; chances are few of his perps would understand it through his grouchy guttural slur anyway.
Pleading to join their makeshift posse is LaBoeuf (Damon) a pompous upright and overly chatty Texas Ranger — the Good Cop to Cogburn’s Bad Cop — who covets Chaney’s Texas bounty which holds more value than his Arkansas bounty. Cogburn agrees reluctantly to take him on recognizing that Chaney now likely holed up with his criminal gang a vicious bunch headed by a spittle-spewing snaggletooth named Lucky Ned (Barry Pepper) is too formidable to approach alone. Cogburn and LaBoeuf are natural rivals and long rides on the trail of Chaney afford them ample time for dick-measuring contests which invariably necessitate the intervention of their teenage mother hen Mattie.
Mattie may be the most mature member of the posse but she is nonetheless still a child — eventually the job of exacting final vengeance must fall upon the men with guns. Here Mattie’s stout heart has an ennobling effect on Cogburn who after briefly giving up during a booze-fueled bout with self-doubt stiffens his resolve to see things through.
Compared to its predecessor the Coen Brothers’ version of True Grit is both funnier and less sentimental. There is little room for tenderness or romance on the Coens’ frontier but opportunities abound for the kind of black humor for which the writer-directors have become so famous. As in Fargo they have a great deal of fun with language; characters speak in a laughably rigid formalized manner almost Shakespearian in its tongue-twisting complexity. The film's ironic conceit that such codes thrive in a land ruled by violence and chaos is best illustrated in Mattie’s constant almost charmingly naive threats of legal action against her adversaries. They react to her threats with a kind of befuddled amusement; the phrase "I'll see you in court" is still several decades away from joining the popular lexicon.
Critics often bemoan the abundance of remakes in modern risk-averse Hollywood. A more productive strategy at least for the cause of quality filmmaking might be to properly exalt the better ones. This True Grit may be the best of them combining the look and feel of a classic western with a distinctly Coens brothers tone. And Ms. Steinfeld is nothing short of a revelation.
As a thinking man’s actioner Ultimatum continues the franchise’s firm grasp on how spy games are actually played. The film starts at the point where Jason Bourne (Matt Damon) is in Moscow having killed the assassin from Bourne Supremacy in a car crash. He has exacted his revenge for his girlfriend’s death but he is still haunted and needs to know how the hell he got into this predicament in the first place. Plus he’s got a new CIA schmuck Noah Vosen (David Strathairn) after him. Vosen has reopened the Treadstone project--now called Blackbriar--and is using a new cache of highly trained assassins to do his dirty work. Luckily for Bourne he’s got two women on his side: CIA lackey Pam Landy (Joan Allen) who while in the situation room tries to thwart Vosen at every turn; and Nicky Parsons (Julia Stiles) the young logistician who covers for Bourne whenever she runs into him. With their help our intrepid assassin circumvents the globe in typical Bourne fashion so he can hunt down his past in order to find a future. Damon has truly perfected his Bourne alter ego in this third go-around. With his cool demeanor he really makes it all look so effortless--jet-setting around the world fighting enemies off with pens books towels cars whatever he can get his hands on and covertly obtaining the information he needs. Damon is an accomplished actor no doubt able to take on a variety of roles--but he may never quite top Bourne. Damon is also surrounded by a top-notch supporting cast. In both Supremacy and Ultimatum Allen as Landy stands out in the crowd of power-hungry men she works for and with infusing the proceedings with a steely intelligence--and ultimately compassion. Stiles too is a breath of fresh air in the otherwise testosterone-filled environment and her Nicky may actually have more of connection to Bourne than we previously thought. The stellar Strathairn a character actor who can play both hero and villain with relative ease adds the sneaky Vosen to his list of bad guys while Albert Finney makes a brief but memorable appearance as a link to Bourne’s past. Helming his second Bourne installment after getting our hearts pounding with Supremacy Paul Greengrass (United 93) gets it. Although the Bournes sprouted from the furtive mind of spy-thriller author Robert Ludlum the director seems keyed into the whole spy genre as well handing us what feels to be a genuine look at how covert operations might work. From the operations center in which CIA personnel can find ways to tap into a target’s life via any number of ways to the action on the streets Greengrass keeps it moving at a whiplash pace. We’ve now come to expect the seat-clenching car chases along with at least one hand-to-hand combat scene between Bourne and some other super assassin in which Bourne kills his attacker with sheer brute force aided by some everyday item. Still they never seem redundant flowing nicely into the storyline. Greengrass’ filmmaking style however can be a tad jolting at times. He loves putting the audience in the middle of the action swinging the camera around fast-cutting between shots keeping things slightly confusing on who’s doing what to whom. But that real-time look and feel is what makes the Bourne movies unique from other actioners. Could there be room for a fourth Bourne? One can only hope.