Few of the powerful men who helped shape America in the 20th century are as polarizing as J. Edgar Hoover considering the peaks and valleys of his nearly half-century-long reign as the director of the FBI and his closely guarded private life. However while there is much to debate about whether the heroism of Hoover’s early career outweighs the knee-jerk paranoia that clouded the end of his run at the Bureau and about what really turned on this lifelong bachelor one aspect of Hoover’s life is inarguable: this was a man who possessed a rare gift for establishing and maintaining order. Everything that fell under his control was meticulously kept in its place from the fingerprints on file in the FBI’s database to the cleanly shaved faces of his loyal G-Men.
It’s an unfortunate irony then that J. Edgar the biopic focused on this ruthlessly organized administrative genius is such a sloppy awkwardly assembled mess. Its lack of tidiness hardly suits its central character and is also shockingly uncharacteristic of director Clint Eastwood. The filmmaker’s recent creative renaissance which began in 2003 with the moody Boston tragedy Mystic River may not have been one defined by absolute perfection—the World War II epic Flags of Our Fathers for example is no better than an admirable mixed bag—but it comes to a grinding halt with J. Edgar Eastwood’s least satisfying and least coherent effort since 1999’s True Crime. There’s no faulting the attention paid to surface period details—every tailored suit and vintage car registers as authentic—but on the most fundamental level Eastwood and writer Dustin Lance Black (an Academy Award winner for Milk as off his game as Eastwood here) haven’t figured out what kind of movie they want to shape around Hoover’s life. For two-thirds of its running time J. Edgar devotes itself to an overly dry recitation of facts about its title character which is about as viscerally thrilling as reading Hoover’s Wikipedia page and then makes a late-inning bid for romantic melodrama totally at odds with the bloodless history-lesson approach favored by the preceding 90 minutes.
The non-chronological narrative structure Black adopts to tell Hoover’s story only adds to the overall disjointedness. Star Leonardo DiCaprio is first seen caked in old-age makeup as Hoover conscious he’s nearing the end of his tenure at the Bureau dictates his memoirs to an obliging junior agent (Ed Westwick). As Hoover describes how he began his career the movie jumps back in time to depict that origin giving the false impression that the dictation scenes with old Hoover will act as necessary structural connective tissue. Instead Black eventually abandons the narrative device altogether leaving the movie rudderless in its leaps backwards and forwards through time. As a result the shuffling of scenes depicting the young Hoover achieving great success alongside his right-hand man Clyde Tolson (Armie Hammer) and those portraying the aging Hoover abusing his power by wire-tapping progressive luminaries (such as Martin Luther King Jr.) that he mistrusts feels frustratingly arbitrary. There’s no real rhyme or reason to why one scene follows another.
DiCaprio does his best to anchor the proceedings with a precise authoritative lead performance. Although his voice is softer than Hoover’s he mimics the crimefighter’s trademark cadence with organic ease and more importantly he manifests Hoover’s unbending fastidiousness in a number of ingenious details like in the way that Hoover reflexively adjusts a dining-room chair while in mid-conversation. But Black’s limited view of Hoover as a tyrannical egotist—the script is close to a hatchet job—denies DiCaprio the chance to play a fully three-dimensional version of the FBI pioneer. Hoover is granted the most humanity in his scenes opposite Hammer’s Tolson which are by far the most compelling in the movie. Possessing no knowledge of the secretive Hoover’s romantic life Eastwood and Black speculate that Hoover and Tolson’s relationship was defined by a mutual attraction that Tolson wanted to pursue but Hoover was too timid to even acknowledge. Hammer so sharp as the privileged Winklevoss twins in The Social Network is the only supporting player given much to do—Naomi Watts’ talents are wasted as Hoover’s generically long-suffering secretary while poor Judi Dench must have had most of her scenes as Hoover’s reactionary mother left on the cutting-room floor—and he runs with it. His mega-watt charisma is like a guarantee of future stardom and he’s actually far more effortless behind the old-age makeup than veterans DiCaprio and Watts manage to be.
While the unrequited love story between Hoover and Tolson is clearly meant to provide J. Edgar with an emotional backbone the movie takes so long to get to it that it feels instead like an afterthought. Where in all the dutiful historical-checklist-tending that dominates the film is the Eastwood who flooded the likes of The Bridges of Madison County Letters From Iwo Jima and last year’s criminally underrated Hereafter with oceans of pure feeling? He’s a neo-classical humanist master who has somehow ended up making a cold dull movie that reduces one of recent history’s most enigmatic giants to a tiresome jerk.
If Transformers: Dark of the Moon is indeed Michael Bay’s final entry in the Hasbro toy-inspired franchise as he has repeatedly intimated then it is a fitting swan song for a director whose lust - and gift - for spectacle remains unmatched. Exhilarating and exasperating awe-inspiring and stupefying the third installment in the blockbuster alien-robot saga is less a movie than a prolonged manic episode. In other words it’s a Michael Bay film.
Any suspicion that Bay might have matured at all since his last film 2009’s Transformers: Revenge of the Fallen vanishes immediately after Dark of the Moon’s opening credits when model-actress (in that order) Rosie Huntington-Whiteley replacing tempestuous Megan Fox as the franchise’s resident eye candy is introduced ass-first. The camera lingers on her backside mesmerized as she makes her way up the stairs to summon our hero Sam Witwicky (Shia LaBeouf) from the bed she inexplicably shares with him. For a director so notoriously ADD-afflicted as Bay he can show remarkable focus when circumstances require it.
Times are tough for our boy Sam who despite having saved the world on two separate occasions can’t find a job. With the Decepticon scourge abated (for now) Optimus Prime Bumblebee and the rest of Sam’s Autobot pals have gotten side gigs as mechanized Hans Blixes roaming the planet in search of illegal WMDs and eliminating the regimes that harbor them. Feeling left out and finding little comfort in the arms his undeservedly hot girlfriend Sam yearns for a shot at more world-saving action.
He finds it soon enough when he is drafted into a plot so sprawling and convoluted that to describe it in full would extinguish what little neurochemical reserves I’ve managed to replenish since last night’s screening. It’s built on an enticing bit of revisionist history which casts the war between the Autobots and Decepticons as the real inspiration for the Cold War space race. It seems that many years ago an Autobot spacecraft carrying a technology that could turn the tide in their centuries-long war crash-landed on the moon. Alerted to the crash JFK immediately initiated the Apollo program with the specific purpose of harvesting technology from the craft before the Soviets could.
But that’s only part of the story as Sam learns when confronted with evidence by a raving co-worker (Ken Jeong) at his new job. (The two have a tussle in the loo – setting the stage for a hi-larious gay-insinuation joke. Vintage Bay!) Turns out there there’s much more to that fallen craft than anyone realizes and if its undiscovered cargo falls into the wrong hands – say Megatron and the Decepticons who are quietly regrouping in Africa – the implications could be devastating.
Dark of the Moon can be roughly divided into two parts. The first is a conspiracy thriller with a surreal comic bent with Bay aiming for – and dare I say nearly achieving – a quirky Coen Brothers vibe as Sam delves headlong into the moon mystery. (The presence of Coen veterans Frances McDormand John Turturro and John Malkovich among the cast reinforces the connection.) Credit screenwriter Ehren Kruger for recognizing that material this preposterous requires a suitably ludicrous sense of humor. But there’s also a sharpness and irreverence to Dark of the Moon’s wit that previous Transformers films have lacked. (It’s still however steadfastly juvenile: When Sam locks eyes with his future girlfriend for the first time his mom exclaims “What a gorgeous box!” while gazing at an unrelated object in the background.) Dark of the Moon's screenplay is a vast improvement over Revenge of the Fallen's in that it is an actual screenplay and not a stack of index cards.
The second half of the film centering on the Decepticons’ extended siege of Chicago unfolds essentially in one long action sequence. It’s as if Bay having sufficiently answered the biggest complaint about the previous film – the lack of a discernible plot – is suddenly unburdened free to commence the all-out sensory onslaught he’s been planning all along. In doing so he all but disavows the film’s first half rendering much of its storyline superfluous.
The battle scenes are truly epic – unprecedented in grandeur and scale and utterly resplendent in 3D – but the endless spectacle induces a kind of delirium. Each frame is positively crammed with images far more than our feeble non-Michael Bay brains could ever hope to process at the breakneck speed he presents them. And no two shots ever look the same: Even a simple shot-reverse-shot dialogue exchange shifts perspective on seemingly every other word. The net effect of Bay’s frenzied handiwork is a state of joyful discombobulation: mouth agape bewildered basking in the dopamine blush.
Since they were young girls growing up in the Midwest Connie (Nia Vardalos) and Carla (Toni Collette) have shared the same dream--to become the next biggest thing to hit musical theater but so far performing in an airport lounge is the closest they've come. Their lives change however when they witness a murder by some nefarious drug dealers and in an attempt to escape end up in Los Angeles which has "no dinner theater no musical theater no culture at all." It's the perfect place for them to hide out and all goes to plan until Connie and Carla happen upon a local drag club. Suddenly they see an excellent way to elude their pursuers--and fulfill their need to be on stage at the same time. Pretending to be men dressed as drag queens Connie and Carla are soon headlining at the club belting out the show tunes they love. They become a huge hit getting the fame and recognition they've always wanted--but as time wears on the whole charade turns out to be a real "drag" ("pun intended " as the gals like to say) especially when Connie falls for nice guy Jeff (David Duchovny). Still with the killers hot on their trail Connie and Carla have to stay incognito--at least until they can find a way to come out of the closet without getting killed or disappointing their growing legion of fans.
The very charismatic Vardalos wowed audiences with her first feature the smash hit My Big Fat Greek Wedding and is probably feeling more than a little pressure to follow up with something just as good especially since the Big Fat Greek spin-off TV series failed miserably. Luckily she succeeds with Connie and Carla due in large part to her co-star Collette who finally--after a string of dramatic movies such as The Sixth Sense and The Hours--gets to use the comedic skills she deftly showed in her feature film debut Muriel's Wedding. Together the actresses' natural rapport and infectious charm permeate the film and despite a sometimes hackneyed script they keep things lively and boy can they sing! Vardalos and Collette make the most of their musical theater backgrounds working the stage and making the film's musical numbers truly memorable. Vardalos also displays a fair amount of chemistry with Duchovny as the straight Jeff desperately struggles with his burgeoning feelings for someone he believes is a man. The last little plus is C and C's supporting cast including the bonafide drag queens the girls befriend at the club. Led by the Tony-winning Stephen Spinella (Angels in America) as Robert/"Peaches " who also happens to be Jeff's estranged brother the supporting guys/dolls add that certain La Cage joie de vivre.
As she did in My Big Fat Greek Wedding writer/actress Vardalos' script speaks from the heart with genuinely fresh funny and down to earth dialogue. Apparently she did loads of dinner theater in her early years so she's familiar with the subject. Unfortunately she relies on a contrived Some Like It Hot plot about vengeful drug dealers to get Connie and Carla to L.A. but once the film gets into drag it zings. Connie and Carla is also in capable hands with director-actor Michael Lembeck (The Santa Clause 2) a former song-and-dance man himself at the helm. The broad comedic style he picked up directing countless television sitcom episodes serves well here and he turns the musical numbers into mini show-stoppers each one topping the next. The last is the best of course when the girls launch into "I'm Just a Girl Who Can't Say No" from Oklahoma capped by a special guest appearance from the musical theater goddess herself Debbie Reynolds. Classic.