According to Daniel Lugo, Mark Wahlberg's beefcake ringleader in Pain & Gain, ignoring fitness and letting your body turn to mush is "unpatriotic." Sitting on a pile of cash while twiddling your thumbs and watching hard-working people serve you is a crime against humanity. Having the will to take action, even if that action is kidnapping, torturing, mutilating, and obliterating a fellow man, is what America is all about. Being a "do-er" gives you the right to do anything.
Lugo's delusional mantras are the adrenaline that forcefully pumps blood through the veins of Michael Bay's latest, a vicious condemnation of the "American Dream" overflowing with dimwitted behavior and gruesome acts of violence. Writers Christopher Markus and Stephen McFeely adeptly spin an all-too-true story into a Burn After Reading-esque exercise in nihilism. Nearly everyone in Pain & Gain is an aggressive personality, warped by greed and self-righteousness: Lugo becomes empowered by a plan to kidnap millionaire Victor Kershaw (Tony Shalhoub) after a motivating speech from get-rich-quick speaker Johnny Wu (Ken Jeong); his accomplice Adrian (Anthony Mackie) follows him blindly, fed up with his day job and suffering from erectile dysfunction; the third piece to the puzzle, ex-con Paul (Dwayne Johnson), starts the movie saved by religion. By the end, he's overcome by a world of strippers, cocaine, and getting away with murder. The trio are a nightmarish Three Stooges act with a thirst for riches. As harebrained schemes always do, Lugo's bagging of Kershaw and extortion-by-torture blows up in his face.
Bay's style from the retina-annihilating Transformers series carries over to Pain & Gain, where it seeps into the storytelling perfectly. His usual low-angle hero shots now echo the characters' crass egotism, while a palette of blinding colors match the plastic beauty of Miami. A smaller scale forces Bay to push himself further, which leads to exhilarating success — similar to last year's End of Watch, the director injects kineticism through putting us in the seat of the gang's car, on the nose of a pistol, or right up in Wahlberg's faces as he performs sit ups in the hot sun. Seizing the rated-R opportunity, Bay also depicts the details of the real 1995 kidnapping case in all their grizzly glory. Shalhoub is tased, beaten, burned, and mashed up to a bloody pulp in Pain & Gain — and that's just the first 40 minutes. By the time The Rock is grilling human hands and Wahlberg is returning a chainsaw to a local hardware store after cutting up bodies just an hour earlier, the movie wisely reminds us, "Still Based on a True Story."
There are moments where Bay actively works against Markus and McFeely's script. Like Transformers' most groan-worthy moments, Pain & Gain manages to squeeze a great deal of crass humor tangential to the story. Some of it is in character — Paul is a staunch homophobe while Lugo can't help but look down at the obese. But Bay wavers in his ability to present this as an icky way of life. Sometimes, the ignorant commentary and bathroom jokes feel intentionally played for laughs.
Making up for any misgivings is a cast maneuvering at peak performance. Wahlberg strikes that unnerving balance of naivete and confidence, the type of pompous nature that would lead an average joe to commit a crime that could put him on death row. The actor is downright hyperactive, and the script gives him the chance to flex his comedic and action muscles, two sides to a Hollywood leading man persona he's been toning up for nearly a decade. He even gets a "walk away from an explosion moment" — but here, it's judgmental to his inability to separate fact from fiction. Johnson is out of his element as the Jesus-loving Paul; the actor goes from gentle giant to a coke fiend version of Godzilla over the course of the movie, and it's daring work. Mackie, mostly known for his dramatic work, riffs on both of them and costar Rebel Wilson with whirlwind speed. Adrian's explanation for why he drinks breast milk is the reason they invented the acronym "WTF."
Keeping Pain & Gain from greatness is a bloated runtime. At over two hours, the action stumbles along, mismatched with the pace Bay sets behind the camera. Ed Harris' detective character arrives late to the game, lighting a fire under the trio, but only after a lengthy stretch of antics that begin to grate. Melding the individual beats — however faithful the final product is — could have condensed the fever dream into a more palatable (and thrilling) story. Still, Bay gets it mostly right. Pain & Gain is a twisted byproduct of American fantasy. Bay's previous work may be a reason he had to make this movie in the first place, but regardless, it stands as a sharp bit of satire that provokes on every level.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
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Moviemaker Michael Bay had to find a stripper trainer to teach newcomer Bar Paly how to dance seductively in his new film Pain & Gain. The director fell in love with the Israeli actress/model at her audition and offered her the role of Sorina Luminita in the film, only to learn she was a terrible dancer.
Bay tells WENN, "In her contract I made her gain 10 pounds. I said, 'You need to have a booty here, OK? None of this skinny waif stuff!'
"She fit the character beautifully, her innocence, her charm, her accent. But then she had to dance.
"I don't know where you find a stripper trainer but we found one. I had to pay them cash under the table and (movie executives at) Paramount said, 'Why are you paying them cash? We can't do that, we are a public traded company.' I said, 'Do you have a stripper trainer? 'Cause I don't and we're shooting in four weeks!'
"I called the dance studio to check up and this Swiss girl said, 'Oh Michael, she's terrible, she's terrible!' I said, 'You better do something.' She did magic with her. When she walked on that stage that's all her; she commanded the stage."
The clothes make the man. They make him pretty much whatever the costume designer wants him to be — steadfast military officer, free-wheeling playboy, overgrown magical sprite. And, in Michael Bay's upcoming black comedy Pain and Gain, they appear to make Mark Wahlberg and Dwayne "The Rock" Johnson into some kind of dragon-worshiping martial arts duo:
In fact, Wahlberg and Johnson play a pair of Florida-based bodybuilders who get themselves wrapped up in a cavalcade of felonies: kidnapping, extortion, assault. But really, the main dilemma here is those vests.
Of course, neither star is unfamiliar with the idea of ridiculous wardrobe. Both Wahlberg and Johnson have engaged in their fair of embarrassing cosplay on movie sets, with territories ranging from the trenches of warfare to the hopes and dreams of a young child. Check out the ranges of funky wardrobe that the Pain and Gain stars have traversed in the past:
Wahlberg geared up as a Kuwait-bound soldier in his first David O. Russell movie, Three Kings.
Johnson will follow suit in the upcoming G.I. Joe 2: Retaliation.
Wahlberg wore a none-too-flattering suit as a man from another place (...or time?) in Tim Burton's Planet of the Apes remake.
The Rock channeled an Ancient Egypt that might well have existed (you weren't there, so you don't really know) with his Scorpion King garb.
Midriffy (and Mirrory)
Wahlberg glared into the eyes of a shirtless reflection in his classic Boogie Nights.
And Johnson did the same (although he can't really seem to find the mirror) in Southland Tales.
The final category celebrates each actor's contribution to our feeling of whimsy. Wahlberg achieved this in Rock Star.
And Johnson hit this mark in Tooth Fairy. The greatest costume in the history of humanity.
Mark Wahlberg Goes Legal in John Grisham Adaptation
Michael Bay's Latest Supermodel Obsession: Bar Paly Joins Pain & Gain
The Rock: Brett Ratner's New Hercules?
It looks like Michael Bay's upcoming dramatic debut, Pain and Gain, is going to require some comic relief, and Ken Jeong is his man.
The Community/Hangover star, who just last year appeared in Bay's Transformers: Dark Side of the Moon, has joined Bay's indie (at least by his budgetary standards) based on the true story of a pair of Miami bodybuilders who get caught up in an extortion-and-kidnapping scheme that goes horribly awry. Yeah, another one of those movies.
Pain and Gain already boasts a formidable cast that includes Dwayne Johnson, Mark Wahlberg, Ed Harris and Tony Shalhoub. It's due for release next year.
Mark Wahlberg Ripped and Ready for Action - HOT PIC
Michael Bay's Latest Supermodel Obsession: Bar Paly Joins 'Pain and Gain'
Michael Bay Sets 'Pain and Gain' as His Next Movie
Picture a complicated, sex-themed character comedy set in the Jewish community. Now picture Woody Allen on set—if you weren't already. Now picture John Turturro in the director's chair. But don't picture Woody Allen saying, "Hey, what are you doing in my chair?" Because although Fading Gigolo, a movie of the aforesaid description, is indeed in the making with Allen attached, he is not the director or the writer: he is the star. Picture that.
Also picture Sofia Vergara and Sharon Stone—they're there too.
Fading Gigolo is a comedy written and directed by and starring John Turturro, a power player in the Coen Brothers films, the Happy Madison universe and all throughout the indie scene. Turturro's script focuses on two aging male members of the Hassidic Jewish community who decide, in the interests of money and excitement, to go into the prostitution business. Allen plays the pimp and Turturro the gigolo whose customers include a dermatologist (Stone, who is also starring in another sexually charged film, Lovelace) and a bored housewife (Vergara), looking for a threesome. So, it might be safe to assume that Turturro has a hidden agenda in the making of this movie...he did, after all, pick the "Most Desirable Woman of 2012." Maybe Turturro picked up the habit from director Michael Bay on production of Pain and Gain.
This will continue a pattern of Vergara starring in romantic roles opposite men several years her senior. Vergara is known best for her Modern Family role, Gloria Delgado-Pritchett, the second wife of Jay Pritchett (Ed O'Neill). Her gig in this film beside Allen (who stands as one of the oldest Oscar winners to date) and Turturro could brand her with this characterization as a type. Fortunately, the fact that Turturro (who is an accomplished writer/director, despite being far better known for acting) wrote the film, and that it has Allen's confidence, suggests that her role won't be some one-dimensional trophy wife shtick you'd see elsewhere.
This will be Allen's first time onscreen since his 2006 film Scoop, and his first time starring in another director's movie since Alfonso Arau's 2000 film Picking Up the Pieces. Both were iffy at best, but Allen revitalized his reputation with last year's Midnight in Paris, so we're looking forward to seeing him back in the game.
Source: Variety via Cinemablend
Michael Bay is no stranger to dipping in to the runway modeling crowd for parts in this films. The man knows what he loves.
Following up his casting of Victoria's Secret cadet Rosie Huntington-Whiteley in Transformers: Dark of the Moon, Bay has set his sights on yet another next gorgeous supermodel for his next action blockbuster. The Israeli-born, photo-friendly Bar Paly will co-star alongside Dwayne Johnson (aka The Rock) and Mark Wahlberg in the long-gesting Pain and Gain. The based-on-a-true story tale follows two bodybuilders who find themselves intertwined in a kidnapping scheme that blows up in their faces. Paly will play Sabina Petrescu, an illegal immigrant who fantasizes of becoming the next Marilyn Monroe (girl obviously needs to watch Smash…).
Paly isn't a stranger to casual movie and TV work, popping up in The Ruins, The Starter Wife and the upcoming Charlie Sheen comedy A Glimpse Inside the Mind of Charles Swan III, but the Bay machine should boost her mainstream awareness substantially. Although, why hasn't Huntington-Whiteley booked another gig yet?
Expect Bay's Pain and Gain, which also stars Anthony Mackie, Ed Harris, John Turturro and the recently announced Tony Shaloub, to hit sometime in 2013, and to once again tackle the complexities of women. Much like his Victoria's Secret commercial work.