At the moment there are few greater clichés in the media than the freaking out single woman on the cusp of 30. Of course clichés are clichés for a reason worth exploring even through the lens of just one or two women as in Lola Versus. Unfortunately while the intention behind Lola Versus isn't that we should all be happily married by the age of 30 it still fits into the same rubric of all those "Why You're Not Married" books.
Lola (Greta Gerwig) has a gorgeous fiancé Luke (Joel Kinnaman) and they live in a giant loft together the kind of dreamy NYC real estate that seems to exist primarily in the movies. Just as they're planning their gluten-free wedding cake with a non-GMO rice milk-based frosting Luke dumps her. It's cruelly sudden — although Luke isn't a cruel man. Lola finds little comfort in the acerbic wit of her best friend the eternally single Alice (Zoe Lister-Jones) who is probably delighted to see her perfectly blonde best friend taken down a peg and into the murky world of New York coupling. Lola and Luke share a best friend Henry (Hamish Linklater) a messy-haired rumpled sweetheart who is kind and safe and the inevitable shelter for Lola's fallout. Her parents well-meaning and well-to-do hippie types feed her kombucha and try to figure out their iPads and give her irrelevant advice.
Lola Versus is slippery. Its tone careens between broad TV comedy and earnest dramedy almost as if Alice is in charge of the dirty zingers and Lola's job is to make supposedly introspective statements. Alice's vulgar non-sequiturs are tossed off without much relish and Lola's dialogue comes off too often as expository and plaintive. We don't need Lola to tell Henry "I'm vulnerable I'm not myself I'm easily persuaded" or "I'm slutty but I'm a good person!" (Which is by the way an asinine statement to make. One might even say she's not even that "slutty " she's just making dumb decisions that hurt those around her just as much as she's hurting herself.)
We know that she's a mess — that's the point of the story! It's not so much that a particularly acerbic woman wouldn't say to her best friend "Find your spirit animal and ride it until its d**k falls off " but that she wouldn't say it in the context of this movie. It's from some other movie over there one where everyone is as snarky and bitter as Alice. You can't have your black-hearted comedy and your introspective yoga classes. Is it really a stride forward for feminism that the clueless single woman has taken the place of the stoner man-child in media today? When Lola tells Luke "I'm taken by myself. I've gotta just do me for a while " it's true. But it doesn't sound true and it doesn't feel true.
In one scene Lola stumbles on the sidewalk and falls to the ground. No one asks her if she's okay or needs help; she simply gets up on her own and goes on her way. It's a moment that has happened to so many people. It's humiliating and so very public but of course you just gotta pick yourself up and get where you're going. In this movie it's a head-smackingly obvious metaphor. In one of the biggest missteps of the movie Jay Pharoah plays a bartender that makes the occasional joke while Lola is waiting tables at her mom's restaurant. His big line at the end is "And I'm your friend who's black!" It would have been better to leave his entire character on the cutting room floor than attempt such a half-hearted wink at the audience.
Lister-Jones and director Daryl Wein co-wrote the screenplay for Lola Versus as they did with 2009's Breaking Upwards. Both films deal with the ins and outs of their own romantic relationship in one way or another. Breaking Upwards a micro-budget indie about a rough patch in their relationship was much more successful in tone and direction. Lola Versus has its seeds in Lister-Jones' experience as a single woman in New York and is a little bit farther removed from their experiences. Lola Versus feels like a wasted opportunity. Relatively speaking there are so few movies getting made with a female writer or co-writer that it almost feels like a betrayal to see such a tone-deaf portrayal of women onscreen. What makes it even more disappointing is how smart and likable everyone involved is and knowing that they could have made a better movie.
Starting near the end of his short 24-year life and then told in flashback this film version of Christopher “Notorious B.I.G” Wallace’s (Jamal Woolard) rapid rise from the streets of Brooklyn to fame is told in standard-issue Hollywood biopic style. We see this Catholic honors student (played by his real life son Christopher Jordan Wallace) become a teenage drug dealer and accidental father before a chance recording finds its way to Sean “Puffy” Combs (Derek Luke) who engineers an almost immediate rise to fame fortune -- and trouble. “Biggie” now must juggle his newfound recording career a marriage to fellow artist Faith Evans (Antonique Smith) his romantic encounters with female rap comer L’il Kim (Naturi Naughton) and a major East Coast/West Coast rivalry with Tupac Shakur (Anthony Mackie) that leads to tragedy for both. As Wallace Brooklyn rapper Woolard is almost indistinguishable from the real man himself. He’s completely convincing performing B.I.G’s biggie hits and proves himself to be a first-rate dramatic actor as well -- at least in a story like this that he can clearly relate to. As his mother Angela Bassett makes the most of limited screen time (despite top billing) and expertly conveys the angst of a parent fighting a losing battle for her son. Luke again shows why he is so promising playing Puffy with just the right amount of flash and supreme confidence. Unfortunately the “balanced” portrait of Combs and many others in B.I.G’s life is tainted by the fact this film was produced by some of the real life players including his managers mother and executive producer Combs. George Tillman Jr. (Soul Food) directs this by-the-numbers account of Biggie’s life in a style we have seen countless times before. Except for a couple of occasions he doesn’t even let the rap sequences play out to give us an idea of how this guy whose songs reflected his rough Brooklyn lifestyle could climb to the top so fast. Whatever was special is lost in what appears to be a brazen attempt to sell soundtrack albums.
Based on the sensational 1968 trial of the Chicago 7 (a group of anti-war protestors charged with conspiracy and inciting a riot) Chicago 10 is part documentary part motion-capture animation. The Chicago 7 was actually eight people and Chicago 10 is named after the group's two attorneys who also went courageously to jail. The men on trial included Abbie Hoffman the outspoken icon of Chicago-based activism and Jerry Rubin a 20th century celebrity in his own right. Chicago 10's cartoon portion tries to recreate the drama of the real-life trial. The jury listens skeptically and a crotchety old judge (voiced by the late Roy Scheider) gives the defendants’ opposition. It’s a commentary of the farcical nature of the trial--and the surreal standards behind it. Connecting the dots is a music video-like series of documentary images spotlighted by horrific scenes such as the Chicago police and National Guardsmen striking back scores of protestors. Rage Against the Machine and Beastie Boys songs underlie violent tableaus. For Americans born 1980 and after this era of left-leaning cultural dissent can be a foreign world. The 1960s’ silencing of voices questioning the government in the era of civil rights and the Vietnam War has been echoed with the Iraqi War. But protests like Chicago 10 are a rarity today. On display are the voices of a handful of top Hollywood stars--including Mark Ruffalo Jeffrey Wright Nick Nolte Liev Schrieber and Hank Azaria--as the voices of the courtroom players. As with many star-studded animation productions the result is not greater than the sum of its parts. Although Scheider in his last performance provides the most distinctive voice as Judge Julius Hoffman Ruffalo Wright et.al are lost in the mix. Partially because of a limp-ish script the actors have to inject excitement into a static courtroom environment--but compared to 12 Angry Men or Primal Fear it just doesn’t engage. Director Brett Morgen (The Kid Stays in the Picture) comes with a fresh visionary perspective. He brings a vibrant attitude to this anti-war flick but it's one poorly executed or at least unevenly so. At the heart of the film's animation there are technical problems. The character's eyes are dead and their movements clunky despite the lively body motions. Compared to a higher budget movie like Beowulf the animation is many years behind. It's a big reason to discount the slowness by which Chicago 10 chief concept operates. The animation doesn't provide enough dramatic potency to involve the audience and becomes more like a gimmick. Messy psychedelic assemblage of documentary footage--though culled reportedly from thousands of images and minutes of tape--doesn't add insight beyond common knowledge. Unfortunately it just isn’t much different from what we've already seen.
Heaven. Hell. Us humans in the middle. It's all very complicated. But John Constantine (Keanu Reeves) seems to have a handle on it. Born with a gift he says no human should ever have he has the ability to see what he calls "half-breeds"--angels and demons that walk the earth in human skin (and apparently there are a lot of them). Of course the horror of it is too much to bear and Constantine tries to take his own life. But he fails. Now having been to hell and back again quite literally Constantine is marked as an attempted suicide with a temporary lease on life. He patrols the earthly border between heaven and hell acting as an exorcist of sorts. Of course the guy isn't doing it because he feels empathy for the human race or anything. It's for purely selfish reasons. He hopes that if he sends the devil's foot soldiers back to the depths he'll gain some kind of redemption a free get-out-of-jail card so to speak. Constantine's attitude changes however when a skeptical police detective Angela (Rachel Weisz) enlists his help in solving the mysterious death of her beloved twin sister. They end up uncovering a twisted master plan brewing between the demons and angels which could bring about a catastrophic series of otherworldly events. Perfect.
John Constantine is a little like The Matrix's Neo--an ultra-cool but tormented man of little words with a sardonic fatalistic outlook on life who kicks a myriad of nasty-looking demons (instead of a myriad of nasty-looking machines) back from whence they came. Yes Reeves has done this before but that's because he's good at it. You can't blame him for sticking with something that works. Weisz also holds her own as the devoutly religious Angela who nonetheless has a hard time believing there are actual angels and demons running around among us. That is of course until she spends about 10 minutes with Constantine and sees just how real they are. As far as the rest of the humans in the film Shia LaBeouf (Holes) does a nice comical turn as Constantine's sidekick and protégé while Djimon Hounsou (In America) works his voodoo mojo as a witch doctor who has a long-standing if strained relationship with Constantine. The not-so-human counterparts are equally intriguing. Peter Stormare (Fargo) delivers a somewhat over-the-top but devilishly eccentric performance as Satan. Tilda Swinton (The Deep End) dons the wings of the arch-angel Gabriel to whom Constantine is always asking for a reprieve but who has got her own agenda.
Based on the DC Comics/Vertigo comic-book Hellblazer Constantine is demonic eye candy. Obviously inspired by the many music videos he's helmed in the past director Francis Lawrence making his feature film debut paints a pretty dark and moody world with shadowy wet rat-infested (or cockroach-infested) corners that hide the horrific demon half-breeds as well as all other kinds of terrible baddies. Then when we get into Hades itself where the demons and seplavites--a sub-genre of the damned who are sightless mindless soul eaters--prowl it's an apocalyptic landscape. Lovely place. Unfortunately the script isn't nearly as stimulating. It must be an arduous task adapting a series of comic books so to his credit screenwriter Kevin Brodbin does do a nice job introducing us to Constantine and his world. But Brodbin seems to have incorporated too much. As the action escalates more and more plot points and characters are thrown in complicating matters. By the time the long-winded climax is over you're exhausted.
The Recruit wants us to believe the film's main thrust revolves around the Central Intelligence Agency's old maxim "nothing is what it seems." Had they stuck with this framework perhaps the film would have been more compelling. Instead it lapses into the expected and the implausible where you can pretty much guess exactly what's going to happen even if it really makes no sense. Our hapless protagonist James Clayton (Colin Farrell) is hustled by CIA recruiter Walter Burke (Al Pacino) who believes himself to be a "scary judge of talent" and sees James as prime CIA meat. When James hesitantly accepts the offer to come to The Farm he does so motivated less by helping his country and more by trying to find out what happened to his father who died mysteriously several years before and whom Burke alleges he knew. Once at The Farm James proves his mettle and is told again and again "it's in his blood." Ah then should we believe James' father who supposedly worked for Shell Oil really worked for the CIA as an NOC or Non-Official Cover agent one of the Agency's more prestigious--and dangerous--positions? The plot thickens. James also falls for fellow recruit Layla (Bridget Moynahan) but during an intense interrogation set-up he makes a serious error trying to save her and "washes out" of the program. Just when he thinks he's out forever James gets pulled back in by Burke who tells him all his trials and tribulations were just a test and that he is really NOC material and needed to root out a mole. Is it what it seems? Heavens no.
You'll be seeing a lot of Farrell in the coming months. Along with The Recruit this year alone he'll be in three major feature films including the upcoming comic-book actioner Daredevil; S.W.A.T. yet another feature based on a TV series; and the sniper movie Phone Booth. How has this 26-year-old Irish hunk risen so quickly in the ranks you might ask? Maybe it's because he has an uncanny ability to make the parts he plays completely believable. He slips easily into the Clayton character the quintessential CIA recruit with a daddy complex and fuels the film with the right amount of acting skills and smoldering good looks. Unfortunately his co-star the high and mighty Mr. Pacino is becoming a caricature of himself. Playing Burke is certainly no stretch for the actor and the film would not be complete without the requisite ranting scene where CIA veteran Burke tells the world all about it--voice booming words punctuated. It seems this has become the standard in any Pacino performance and frankly it's getting tiresome. Where's the quiet but powerful Michael Corleone when you need him? Moynahan (The Sum of All Fears) is somewhat bland as Clayton's love interest Layla. Word of advice: if Colin Farrell is making eyes at you go for it immediately. Don't waste any time.
For all its obviousness The Recruit does some things right. No stranger to the inner workings of our government agencies director Roger Donaldson who directed the Cuban Missile Crisis drama Thirteen Days and the Pentagon thriller No Way Out gives us access to the CIA training program or The Farm as its lovingly referred to--and it's one scary place. Obviously when making the film things had to be handled delicately as not to divulge too much so the film does take some creative liberties in showing the intense training the eager recruits have to face. That's fine with us--if we can't rely on death-defying stunts and car chases then outrageous mind games are generally good enough. But once The Recruit takes leave of The Farm the movie begins to fall apart. The inherent action set up for us in the first part--James finding out about his father the blossoming relationship between Layla and James who will be the NOC and the whole mole plot--just isn't as convincing to carry the film through its fruition. And being able to guess the next move isn't much fun either.