Director Jason Reitman made a very smart decision when approaching his new film Young Adult. His past two successes Juno and Up in the Air were stylized dramedies one with colorful dialogue and production design flourishes the other with precision camera work his director's hand evident at every turn. In his latest he pulls way back letting his lead character—a vile destructive former high school prom queen named Mavis (Charlize Theron)—do the talking. And talk she does—every word a stinging insult disillusioned wish holier-than-thou gripe or embarrassing truth. Reitman unleashes an unfiltered Theron and the results are gut-wrenching hilarious and powerful.
While working on her latest Sweet Valley High-esque book Mavis receives a mass e-mail from her high school boyfriend Buddy (Patrick Wilson) announcing that he and his wife are expecting their first child. This sets a fire under Mavis' ass and after chugging a 2-Liter of Diet Coke and throwing on a Hello Kitty tee she hits the road to take back the man that's rightfully hers. Mavis shacks up in a drab hotel located in the heart of her small Minnesota hometown and immediately proceeds to the bar to indulge in her favorite pastime: pounding back whiskey. There she runs in to one of her forgettable high school classmates Matt Freehauf (Patton Oswalt) who she only recalls after being reminded of a horrendous gay bashing that left both his legs crippled ("And I'm not even gay."). The two form an unlikely friendship—Matt being enamored by Mavis' pathetic quest Mavis needing an ear to talk off.
Young Adult's simple premise allows writer Diablo Cody (Juno The United States of Tara) to move Mavis from depressing suburban local to depressing suburban local with ease creating a playground of homogenized perfection for Theron's foul behavior. Whether she open-mouth chewing on fried chicken at the local KFC/Taco Bell covering up last night's hangover with a fresh facial or seducing Buddy at the Applebee's-esque restaurant Mavis never falters always looking down at her surroundings finding excuses for why she's not the source of her own problems.
Theron's performance is fearless one of the few crass female performances shaded with human complexity and empathy. Young Adult is a very funny film that works because of its star's ability to teeter the edge of comical and truly unlikable. Oswalt and Wilson amplify the main performance embodying their own grounded characters to properly riff with the vulgar Mavis. Matt is a very Patton-y character to begin with but between is jokey back-and-forths with Mavis is an inherent sadness one Oswalt surfaces with a contrasting subtly. Unlike Mavis Matt has the ability to rise above is own plight and change. His new friend is tragically a lost cause. At times the film's story feels too narrow never allowing us to really explore Mavis' other relationships but it's hard to naysay for wanting more.
Few movies attempt to mine comedy out of the bleakness of everyday life; even fewer do so while twisting storytelling conventions. You watch Young Adult with hopes for Mavis but Reitman and Cody aren't ready to indulge you. In Theron they've found one of the few actresses in town who can simultaneously look like a conventionally gorgeous blonde bombshell and complete make-up-caked crap a woman with the balls to take a character who relishes in schadenfreude. They don't squander that talent. From the first to the umpteenth Teenage Fanclub sound cue Mavis is delusional caught up in her own fantasy and willing to execute it at any cost. It's a truly cringe-worthy mission but it works because sadly we all know someone like that.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
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!