Review: Laggies (2014, Dir. Lynn Shelton)

Keira Knightley gives Chlöe Grace Moretz a lift in Lynn Shelton’s latest.

Laggies – For some strange (and unfair reason), the narrative of the young adult in arrested development seems to be a sub genre exclusively reserved for men (with the notable exception of Jason Reitman’s criminally underrated Young Adult ). Lynn Shelton’s Laggies may not have the razor-sharp iciness of Reitman’s film, but it’s a comedy that’s full of insight and ideas that sneak up on you. The film tells the story of Megan (Keira Knightley, free of corset), a twenty-something equipped with a graduate degree but lacking motivation – she’s content enough to hold and flip a sign for her dad’s small business. Smart but curiously aimless, Megan lives a comfortable and coasting life with her longtime-boyfriend (Mark Webber) and hangs out with her cheery high school pals who seem to be getting married and having children remarkably fast. Feeling a stab of pressure from her friends’ life changes, as well as a sudden marriage proposal from her boyfriend, Megan jumps out of her circle and into the life of Annika (Chlöe Grace Moretz), a teenager for whom Megan buys alcohol while disappearing from her soon-to-be fiancé. It dawns on Megan that she needs time to think her life over (a revelation that rarely happens so soon in a film like this – and used to such an interesting effect), so she pretends to go on a work retreat to lay low with Annika. The two paint each other’s nails, go to house parties, and swap secrets and stories – calming the older Megan, and warming the younger Annika. Things change when Annika’s stepfather (Sam Rockwell, a force) becomes suspicious of Megan…and then fond. This growing pains comedy takes a couple twists in its third act that are both entertaining and unexpectedly relatable that won’t be spoiled here. Yet what’s safe to say is that Shelton (working from a biting script written by another writer, Andrea Seigel) finds the humans under the characters. She understands the relationships, turmoils, pains, humor, and epiphanies, and allows them to flow through the film in an offbeat and organic way. The tone and look of the movie is colorful and pleasant, yet the ideas explored in the film are full of anxiety, fear, connection, and hope. In her previous film, Touchy Feely, Shelton examined the roles emotional releases and balances play in everyday life. In Laggies, she shifts to convey the whirlpools we often create for ourselves – the circling around, the pretending of, the putting off. This kind of stagnancy is as funny as it is heartbreaking as it is true, and the film finds the humanity and peace in the situation as well as the presentation of connection. Megan is the kind of unconsciously suffering, artificially happy character that’s tightly wound with ambivalence that it takes the pull of a string to unravel what’s going on with her – and that’s exactly what Shelton does. Knightley, Rockwell, and Moretz deliver a triple threat of appealing and honest performances that compliment both Seigel’s sincere and witty dialogue and Shelton’s careful yet spirited direction, resulting in a comedy that faces the situation of young adult ennui with serious spark. A-

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Review: The Grand Budapest Hotel (2014, Dir. Wes Anderson)

Ralph Fiennes is in a pickle in Wes Anderson’s latest comedy.

The Grand Budapest Hotel – I’ve always observed the filmography of Wes Anderson as U-shaped. His first two films, Bottle Rocket and Rushmore, were striking with their witty style (or, stylistic wit). Then, from The Royal Tenenbaums to parts of The Fantastic Mr. Fox, he seemed more concerned with boasting his aesthetic than telling unique stories with interesting characters. His films seemed like gleeful puppet shows that were candy-colored spectacles devoid of much substance. That is, until he created something bold and beautiful still within his indulgent tendencies a few years back with Moonrise Kingdom and, thankfully, having lightning strike twice with his latest film. Anderson is a gifted and singular filmmaker but he’s spotty and inconsistent, which makes The Grand Budapest Hotel seem extra-special because he’s allowed his aesthetic to feed into a fluid and rich narrative. The multi-generational comedy tells the story of a writer (alternately played by Jude Law and Tom Wilkinson) who recounts the lives of loyal lobby boy Zero Moustafa (newcomer Tony Revolori, and F. Murray Abraham as an older version) and the esteemed concierge of The Grand Budapest Hotel, M. Gustave (Ralph Fiennes). In the early 1930’s, when a close and wealthy friend of Gustave’s (Tilda Swinton in terrific old-age makeup) is murdered, it’s up to the concierge and his sidekick to clear their names and solve the mystery surrounding her death and estate. What ensues is a wacky, rollicking adventure through the European mountains and insane prison escapes that get away with questions of incredulity due to its period setting and inspired voice behind the camera. The tone of the story obviously matches Anderson’s stylistic tendencies, and they are in full throttle here – meticulous framing (and experimentation with aspect ratio), illustrious color and detail, and inventive cinematography and sound. But what makes this especially appropriate is that Anderson’s direction allows for a comedic story, touching dynamics, and subtle tragedy to coalesce together into a lively film without much abrasion. The characters don’t feel quirky for the sake of quirky, but rather complex and motivated, and the style adds nuance to the narrative instead of acting as a hollow and overly precious pastiche. Anderson has conceived his material with imagination and research, making a funny film about tragic and real histories – both collective and personal. Unlike, say, The Life Aquatic or The Darjeeling Limited, this isn’t a pretty film about messed-up people and their undercooked relationships that fluctuate to the tunes of The Kinks and David Bowie. Rather, The Grand Budapest Hotel blooms out of significant themes of the past, nostalgia, and the poignancy of what’s left and what’s coming. And, of course, the film’s resonance would not be as strong without its clever (and packed) casting. Hysterical and enjoyable supporting turns from Jeff Goldblum, Willem Dafoe, Mathieu Amalric, and Saorise Ronan (in addition to a smattering of other cameos) surround the delightful and profound dynamic shared between Revolori and Fiennes’ performances. Fiennes, in particular, fits the film’s zany plot and historical sophistication like a glove with a winning, witty, and fierce turn that’s among his best. I’m aware that my opinion of Anderson is highly unpopular – he has a large following of consistent fans, and he’s always been an interesting filmmaker. But The Grand Budapest Hotel is the second feature in which he’s really displayed a higher level of grace, character, and storytelling, and I do hope it keeps growing. A-

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Review: The Skeleton Twins (2014, Dir. Craig Johnson)

Bill Hader and Kristen Wiig star in this independent dramedy.

The Skeleton Twins – For a film starring two Saturday Night Live vets, Craig Johnson’s The Skeleton Twins tackles some serious and jarring material. But the two leads add some much-needed levity and surprising nuance to an otherwise enjoyable, if flawed, dramedy. Bill Hader and Kristen Wiig star as Milo and Maggie, two similar but estranged siblings who haven’t spoken in ten years. After cheating death on the same day (via botched suicide attempts), Maggie comes to Milo’s aid and invites her brother to temporarily move in with her and her husband (Luke Wilson) in upstate New York. Over the next few weeks, the siblings slowly reconnect and explore unresolved issues while coming to terms with the paths their lives have taken. Sound familiar? Johnson’s film doesn’t feature the most original premise, but it does take it into some unexpected territory. Milo is a wannabe actor battling depression and dissatisfaction with not getting much work, while sister Maggie does not think she’s ready to commit to the possibility of motherhood (or even being with one man the rest of her life). The way Johnson’s script develops their issues and characters is impressive, for Milo and Maggie never come off as stale caricatures. They’re complex, contradictory, and exciting. The dialogue and conversations between the siblings (whether it’s rehashing memories, complaining about their problems, or even trying to make each other laugh) is never less than compelling and even sweet. And it helps that Hader and Wiig have such believable, natural, and warm chemistry. The two SNL stars have shared some ridiculously funny skits in the past, but they exhibit a flawless tragicomic relationship that’s full of some pain, humanity, and love. And although they have some serious moments that reveal some solid dramatic chops, they also have hysterical scenes that remind us they’re two of the strongest comedic talents out there (a lip-syncing duet of 80’s pop ballad Nothing’s Gonna Stop Us Now will probably be one of the funniest scenes of the year). Wiig gives her most nuanced and effective turn since Bridesmaids, and Hader balances his familiar comedic timing with terrific sensitivity. And Wilson is hilarious and heartfelt as the supportive, if not entirely aware, spouse of Maggie. Yet, however outstanding the two leads are, the problem with The Skeleton Twins is an issue many independent dramedies face – it never confidently blends comedy and drama. There are some bitingly funny moments, and some dark and serious scenes – but the two genres never really coalesce into something solid and consistent. In addition, the film indulges in frequent bouts of indie moodiness (over-stylized aesthetics) and unexpected broad melodrama that weakens the impact of its more powerful and sincere moments. It’s a shame that the twists and turns the story takes aren’t treated with more care or attention to the overall feel, because the film does not always portray its interesting characters in the most convincing light. That said, The Skeleton Twins is still an emotionally engaging and worthwhile character dramedy that proves two of the finest comedic actors are capable of some raw, resonant material. B+

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Review: Her (2013, Dir. Spike Jonze)

Joaquin Phoenix stars in this clever romantic dramedy from Spike Jonze.

Her – It’s been four years since his last film (an unusual adaptation of Maurice Sendak’s Where the Wild Things Are), but writer/director Spike Jonze is back with an original and provocative love story. Her is an offbeat futuristic romance that stars Joaquin Phoenix as Theodore, a distracted and moody writer for an online agency that specializes in crafting love letters to and from clients. With expressing romance as a day job, Theodore begins to feels some actual love while building a relationship with his computer operating system named Samantha (voiced by Scarlett Johansson). Yes, Theodore essentially falls for Siri. But this high-concept comedy eventually molds into a rich and mature meditation on connection and the dynamics of love. It covers all the bases of the euphoria, excitement, doubt, fear, and joy of relationships with wit, warmth, and a surprisingly relatable perspective. Jonze’s artful and assured direction moves his story along while accentuating the dance and development between the characters with wonderful editing, keen and flowing cinematography, and a gorgeously moody score from Arcade Fire. His script, though, is perhaps the film’s strongest asset as it is one of the best-written works to reach the screen in quite some time. It’s almost like a trick, to get the audience to think and feel so strongly about these characters and love in general through this wacky, sci-fi setup. But Jonze succeeds with flying colors without painting a pretentious, esoteric view of modern love – instead, it’s an insightful fable we can all connect to thanks to the filmmaking, humor, and heartfelt ideas on display. Joaquin Phoenix gives a performance unlike his past, physically-demanding roles – here, he is soulful, sweet, and subtle. He makes the insane idea of falling in love with a technological device not only seem possible, but natural and moving. He displays some killer comedic timing as well as a surprising amount of vulnerability. As his voice-operated counterpart, Johannsson’s smoky, grounded, and charming vocal performance is sublimely impressive. She’s funny, sexy, and (ironically) human, showing that Theodore’s developing feelings are not at all that ludicrous. Together, the two actors bridge and build a beautiful cinematic relationship that cuts through convention and generic expectation to convey something unpredictable, surprisingly relatable, and quite resonant. In supporting roles, Rooney Mara, Chris Pratt, and (especially) Amy Adams give strong turns as the people in Theodore’s life who either oppose or espouse his novel romantic pursuit. It’s rare to see a film that presents a high-concept idea but does not let it define the entire work with its quirks, yet instead lets it feed into rich thematic material. Jonze’s Her is stunning and exemplary in that regard, a poetic love story that rewards its audience with a heartbreaking and affirming piece of film art. A

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Review: The Secret Life of Walter Mitty (2013, Dir. Ben Stiller)

Ben Stiller traces the globe in his new and ambitious directorial effort.

The Secret Life of Walter Mitty – Studio comedies these days either employ redundant and cliched humor or throw a bunch of CGI-sprinkled stunts on a canvas and see what sticks. Ben Stiller’s The Secret Life of Walter Mitty may seem like a project destined for such grating mediocrity, but it manages to (mostly) escape with enough real dazzle. This adaptation of the James Thurber short story of the same name centers on Walter Mitty (Stiller), a LIFE Magazine employee and constant day-dreamer who fantasizes about thrills and adventures while pining for his attractive and interesting co-worker (Kristen Wiig). Yet as the magazine shifts into its last issue, Walter must suddenly find and locate the missing negative of a featured photograph by an enigmatic photojournalist (Sean Penn). The search takes Walter into unexpected peril, danger, and adventure – thrills and journeys that are no longer swirling around in his mind, but are real and facing him. Walter travels through Greenland, Iceland, and Afghanistan in search of not only the photograph, but the spark and love of a life he has yet to live fully. This may all sound like a recipe for a saccharine and excessive visual effects feast full of cliches, but Stiller avoids pandering and predictable tendencies. Instead, he’s made an uneven but ultimately enjoyable experience that boasts beautiful cinematography, colorful acting, and an assured tone. He nails the satirical edge of an isolated and monotonous corporate life in the beginning and how it has caused Walter to daze off into his own unique fantasies. The film doesn’t disregard Walter as another ant on the hill, but as a realistic underachiever who yearns for more credit, opportunity, and passion. Stiller handles the character’s propensities with solid timing and heart, while Wiig is charming and funny as his love interest. The problem, however, with Walter Mitty is that it often fails to distinguish the difference between imaginative and cartoonish. While there are several inspired and effective diversions in Walter’s subjective yearnings (including an oddly brilliant treatment of David Bowie’s “Space Oddity” with Wiig’s participation and a funny riff on The Curious Case of Benjamin Button), a few sequences are jarring for all the wrong reasons. Segments involving Adam Scott’s irritating and gruff executive and Patton Oswalt’s flat dating website manager (a facet in the relationship between Stiller and Wiig) seem like obvious jabs at slapstick humor through CGI that fails to ignite any hilarity or whimsy. Furthermore, the coincidental elements that tie together screenwriter Steve Conrad’s screenplay may make an enjoyable narrative arc but are quite convoluted. They do seem forced, and it’s the quieter and more incisive moments of Walter Mitty that are more piercing. Walter’s yearning for Wiig’s Cheryl is grounded in a soft poignancy and spirit, and his professional and personal relationship with Penn’s photographer develops with intrigue and heart. Walter’s familial ties to his mother and sister (Shirley MacLaine and Kathryn Hahn) are underwritten, but welcome due to the actresses’ ease and energetic presence. Overall, The Secret Life of Walter Mitty is ambitious and bloated but there’s no way not to filter out all the noise here – it’s part of Walter’s psyche and livelihood. Stiller mostly handles the chaotic material with nuance, allowing some scenes to unfold with a quiet and pleasant grace rather than the need for abrupt and steady constraints. Within all the insanity of the story, Stiller has made a film about dreams and connection that caters to lunacy and wilderness but retains enough moving and startling moments. B

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Review: In a World… (2013, Dir. Lake Bell)

Lake Bell writes, directs, and stars in this original and biting satire.

In a World… – Comedienne/actress Lake Bell makes her directorial debut with this funny, sweet, and very insightful comedy about a niche sector of the film industry. Vocal coach Carol (Lake Bell) lives in the shadow of her famous father, Sam Soto (Fred Melamed from A Serious Man), a movie-trailer narrating titan. In a male-dominated business, Carol struggles to find consistent narration work beyond coaching and teaching. However, the arrival of a new blockbuster and rumors surrounding a search for fresh talent for its trailer leads Carol on a journey of integrity and empowerment – proving that women deserve a stake in the business, but also that she has a voice looking to be heard. The most striking thing about Bell’s movie is its very original concept and depiction of an overlooked profession. To navigate and depict the odd business of trailer narration and vocal coaching is refreshing and educational, but to do so with an incredible amount of wit and heart is highly rewarding. It’s also a big relief that such an offbeat premise is not treated with unnecessary and annoying quirks; not that Bell’s film is conventional by any means, but there’s nothing forced about it. The characters seem true, the story is engaging, and the family ties and inside business are portrayed with a welcome amount of honesty. Bell also manages to turn in a stellar and enjoyable star performance, proving she can carry a film with her self-deprecating humor and warm presence. Also solid are Michaela Watkins (a gifted comedienne who’s finally found a great role as Carol’s sister to display her witty talents), Rob Corddry as Carol’s brother-in-law, and especially Fred Melamed as Carol’s imperfect, stern, but overall caring father. Some characters are introduced as cliches and caricatures, but bloom into surprising and funny human beings (such as Sam’s trophy wife, played with charm by Alexandra Holden, and Demetri Martin’s nerdy love interest). Finally, Bell successfully uses the film industry as both a backdrop and catalyst for examining deeper issues like severed and repairable family connections and female challenges in a male-dominated corporate world. It’s never preachy, but also effortlessly funny and surprisingly poignant. I had a lot of fun watching and laughing through In a World…, but I mostly hope Lake Bell makes a career of creating these charming, funny, and distinct character pieces. A-

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Review: Drinking Buddies (2013, Dir. Joe Swanberg)

Olivia Wilde and Jake Johnson go with the flow in Joe Swanberg’s comedy.

Drinking Buddies – I said it once, and I’ll say it again – I dislike the term ‘mumblecore’ because it completely ignores the weight and magic of improvisation and spoken dialogue in certain independent films, no matter how naturalistic the actors behave or low-key the production values are. Joe Swanberg’s Drinking Buddies could easily be slapped with the insufficient label because of its casual vibe and aesthetics, but this is a rich and funny study of flirtation and friendship that doesn’t deserve such thin assumption. Olivia Wilde and Jake Johnson star as two co-workers at a local Chicago Brewery who joke around, flirt, connect, and drink beer all day at work. One could see the comfort and ease they have with one another, except they’re both in relationships – Kate (Wilde) is dating a music producer (Ron Livingston) while Luke (Johnson) is in a serious soon-to-be engagement with Jill (Anna Kendrick). The two couples begin to double date and take a weekend trip up to a beach cabin, which changes everything in the dynamic. Soon, Kate and Luke begin to discover what’s drawing them together and explore the friendly but seriously flirtatious chemistry between them. Is it unrequited, or mutual? Swanberg’s direction perfectly captures the awkwardness and humor of a friendship that’s full of romantic and sexual possibility with terrific intimacy and tension. Kate and Luke seem to veer off into too comfortable territory at times, both while at work or out at bars with friends where it could seem to others that they’re in a relationship. It all comes across as very authentic, which is a testament to Swanberg’s observant eye and the delightful and compelling performances from Wilde and Johnson. Both actors breathe realistic humanity into these two characters, as they evoke many similar behaviors and patterns associated with the (un)comfortable dance between friendship and relationships. Swanberg’s story is also packed with refreshingly unexpected and insightful moments that subvert the standard romantic-comedy structure in an effort to capture something more unusual and enlightening. But, when all is said and done,  Drinking Buddies unfortunately feels like it comes up a little short. The direction and performances are wonderful, but that’s about it – nothing about this portrait is particularly jarring or overly resonant. It’s not a game-changer by any means; that said, it adeptly and bravely achieves what it sets out to do. This is an offbeat, charming, and bold romantic comedy that deserves credit for portraying the taboos and tension of close male-female friendships with humor and heart. B

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Tribeca Review: Almost Christmas (2013, Dir. Phil Morrison)

Paul Rudd and Paul Giamatti play a pair of bumbling criminals in Phil Morrison’s second feature.

Almost Christmas – It’s been about eight years since director Phil Morrison delivered his cherished, original debut, Junebug, which made a splash at Sundance and proved a break-out for star Amy Adams. His long-awaited second feature, Almost Christmas, isn’t as assured or introspective but is still a bittersweet, odd, and funny film. The movie tells the story of ex-con Dennis (Paul Giamatti, snarling and scowling at his very best), a French Canadian whose wife and daughter have left him for fellow low-life thief, René (Paul Rudd). Dennis convinces René (through guilt-tripping and aggression) to let him accompany him to New York City to sell Christmas trees and turn a solid, month-long profit. The film’s weakest asset is that the set-up is essentially the plot – all the two do is talk, bicker, sell trees, and eventually come to realizations about their lives and relationships. There’s not much ambition to take the story elsewhere or raise the stakes for either one of these characters, and the entire tone (and even look) is quite bleak and dark because of it. Thank goodness, though, the script has drafted two interesting leads and have casted affable, talented actors to play them – making this, instead of an instantly engaging narrative, more of a satisfying, low-key character study. Rudd and Giamatti have instant, hilarious, and palpable chemistry as Dennis and René. Every time the former’s cherry absent-mindedness butts heads with the latter’s frazzled anger, the results are hilarious and bizarre. The two play up  the humorous quirks of their characters quite well, but also expertly portray their surprising and subtle nuances. Giamatti evokes a calculated temper yet also a heartbreaking determination, while Rudd fractures René’s goofy optimism with moments of real confusion and desperation. The two characters play off of one another well, but it’s the actors who make this an irresistible pair. They make their tree-selling plight all the more darkly humorous and compelling. But, shaking up the basic storyline, is an erratically friendly Russian maid played by Sally Hawkins (Happy-Go-Lucky). She connects with Dennis, helps him emotionally get on his feet and even supply some money and clothing, resembling a strange beacon of kindness in the dour film. The character already has quirks written into her behavior, but it’s Hawkin’s unhinged and hysterically-timed performance that makes her memorably bizarre (or, rather, bizarrely memorable). She adds an off-kilterned poignancy to the main story. The three characters interact and intersect with one another for a good 80% of the film around the tree-selling lot and areas of Brooklyn – it’s a slow story and film, but one that strikes a bittersweet tone and never abandons it. Up until the last shot, it’s a melancholy yet funny look at two guys trying to get their lives back in order. The holiday season is a terrific and subversive backdrop for their criminal background and almost animalistic tendencies. Because of the meandering nature of the film, Almost Christmas is not necessarily plot-driven enough to be for everyone. But it’s pleasant, funny, and touching enough to be a great showcase for three talented actors as well as proving that Morrison still has deft direction after eight years. B+

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Review: Spring Breakers (2013, Dir. Harmony Korine)

James Franco shows these girls a dangerously good time in Harmony Korine’s fifth feature.

Spring Breakers — Selena Gomez, Vanessa Hudgens, bikinis, Top 40 music – sounds like an ideal set of ingredients for a conventional, teen-studded, sunny rom-com with some raunchy twists. But from the mind of Harmony Korine (Gummo, Trash Humpers), this is a warped, visceral genre film that takes its candy-colored basics and morphs them into a kinetic nightmare. The film opens with a slow-motioned, bright and wild montage of expected beach behavior – tons of drinking, tops coming off, and couples swapping and hooking up. But there’s a sinister unease to these images that Korine digs up and forces audiences to confront. The story starts off with four bored college girls (Gomez, Hudgens, Ashley Benson, & Rachel Korine) who wish they could afford to go on the crazy, binge-drinking spring break all their friends are experiencing. The solution, to these naive individuals, is simple and even exciting: robbery. They mask up, carry painted squirt guns, and hold up a small restaurant to fund their booze-filled, week-long romp. Things then go awry and interrupt their paradise party when the four are arrested for possessing and using narcotics – that is, until a rapper named Alien (a perhaps overly charismatic James Franco) befriends them by bailing them out. Soon after, the film takes surprising turns and the real spring break “fun” begins. Korine has always dived deep into moral depravity, but not quite with this much frenetic energy and experimentalism. The film is one long, intriguing, shocking descent into a sort of hell – images are idolized, repeated, morphed and manipulated into an amusing and disturbing subversion of mindless vacation. We are (maybe too) familiar with the sexualized and unhinged energy associated with MTV-mania, but Korine’s sporadic editing, haunting and loud underlying soundtrack, and bizarre characters place us within the canted horror of the world. It’s visually feverish and contagiously both satirical and scary. Instead of a cohesive narrative, the film takes the form of a distorted, dream-like impression of a story. Korine’s style wavers between music video pop-art and a broken stream of consciousness – as if Magic Mike somehow blended with We Need to Talk About Kevin. That said, the film sometimes gets a little too lost in its aesthetics and performativity. Lines of dialogue and startling images are repeated to give off a recurring impression, but the repetition sometimes comes off as empty projection. Also, Franco’s mannerisms begin as funny and surprising but become a bit tiresome and distracting as his storyline develops. That aside, there are not too many films like Spring Breakers. Its unique vibe, a mix of campy satire and downright horror, comes from foregrounding the haunting violence and story within our cultural consciousness. The casting of Gomez, Hudgens, and Benson (all pleasantly solid in their respective roles) and the use of Ellie Goulding’s “Lights” and (especially) Britney Spears music  challenge and subvert our ideas of pop culture and make the film frighteningly resonate. It’s perhaps the first art film I’ve seen with lengthy discussion on “grillz”, but let’s hope this marks a new chapter in Korine’s filmmaking career. B+

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Review: Silver Linings Playbook (2012, Dir. David O. Russell)

 

Jennifer Lawrence and Bradley Cooper square off in David O. Russell’s sublime romantic comedy.

Silver Linings Playbook – David O. Russell’s latest film, based upon the novel of the same name, is brutally funny, alternately sweet and sour, and an exemplary piece of its genre. I’m admittedly not a huge Russell fan – Flirting With Disaster is amusing, but his ensuing films (including 2010’s The Fighter, despite great performances) are too chaotic to make a connection. Yet Silver Linings Playbook mixes dramedy, romance, and his directorial energy so flawlessly that it feels way more balanced and resonant. It turns the familiar (crazy family, boy meets girl romance, etc.) into a fiercely pulsating experience. Pat Solatano (Bradley Cooper) has just been released from a mental institution following a violent nervous breakdown after catching his wife having an affair. He’s discharged to his loving mother (Jacki Weaver) and brought home to his cranky, bookie father (Robert DeNiro). Not before long, he plans on winning back his wife and reclaiming his old life – but plans change once he meets the abrasive, high-strung, yet damaged Tiffany (Jennifer Lawrence). The two come to terms with their unhappiness and, rather unconventionally, learn to repair one another’s broken spirits. As recycled as that sounds, the film takes surprising and hysterical turns on its way to telling its fractured love story. For instance, the suburban Philadelphia setting is a wellspring for exploring family dysfunction and drama – and, among today’s directors, no one does it as perceptively as Russell. The scenes within the Solatano household, with a daring use of a wandering handheld camera and swift tracking shots, are nothing short of dynamite. Russell’s depiction of Pat and his father’s relationship is harrowing and emotional. The scenes involving Pat’s father and his friends watching the Eagles and a pivotal, extended, plot-driving argument that takes place later in the film are full of hysterical family dynamics and insights. Russell’s adapted script is witty while remaining considerate of the slowly forming romance at the heart. And while the writing lays out the development of Pat and Tiffany’s moving relationship, it is the actors who truly bring it to life. Bradley Cooper has amused audiences for years in movies like Wedding Crashers and The Hangover, but he handles this dense, deep material with such precision and care. He’s charmingly lost at Pat, conveying a somewhat delusional and optimistic worldview at first before beautifully changing it into a wrenching self-reflection and hope for redemption. Cooper’s comic-timing is impeccable, and his performance is nothing but strong, sincere, and sweet. As Tiffany, Jennifer Lawrence effortlessly knocks it out of the park. The character is always changing despite having a consistent undercurrent of depression and angst, and Lawrence illustrates Tiffany’s mood swings and emotional breakdowns with heart-stopping fluidity and grace. Her range is astonishing, yet what’s truly captivating about Lawrence’s performance is how easily she makes Tiffany not only likable, but very understandable. She’s fragile yet volatile – a complex trait that Lawrence conveys in a single look. She simply gives the best female performance I’ve seen this year. Rounding out the cast, DeNiro and Weaver are fantastic at Pat’s parents – the former deftly communicates a submerged, violent rage that’s open to healing, while Weaver is supportive, lovely, and hilarious. Here’s that rare kind of movie where everything seems to be predictable and familiar, but the team involved mold it into something that’s indispensably original, laugh-out-loud funny, achingly true, and sweetly heartwarming. Silver Linings Playbook doesn’t have to do much convincing, because it’s already terrific. A

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