There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
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.
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.