Robert De Niro gives a compelling performance in Weitz' new film.
Being Flynn–Adapting a novel or play into a film can be troubling and obvious, and is almost always prone to a few faults. The plot seems staged, the characters are unnaturally defined, and the ending is wrapped up neatly to safeguard some sort of satisfaction. Paul Weitz’ adaptation of Nick Flynn’s “Another Bullshit Night in Suck City” doesn’t escape the usual pratfalls, but isn’t nearly as flawed as usual adaptations due to De Niro’s commanding performance and solid direction. De Niro stars as Jonathan Flynn, a failed but pompous writer who has been absent in his son’s life as he grew up knowing only his mother (Julianne Moore, strong in a small part). His son, Nick (Paul Dano), grows up aspiring to be a writer just like his mysterious father but looks for catharsis in his writing to deal with the empty void Jonathan has left him. His soul-searching leads him to work in a homeless shelter where, suddenly, he encounters Jonathan wandering and needing a room for the evening. What ensues is an unconventional exploration of a father-son relationship that is, fortunately, not at all maudlin–in fact, anger and aggression take the driver’s seat as both fail to admit their shortcomings to one another and sidestep any signs of redemption or grace. This is not to say the film is ultimately depressing, but it’s a relationship drama whose honesty is foregrounded rather than the usual cinematic denouement. It’s such a pleasure to see De Niro take on a challenging role after years in check-cashing time-wasters. He nails Jonathan’s smug brutality and abrasive nature while flawlessly mixing in vulnerable deterioration. He makes the film watchable and compelling, even when all else fails to engage. The screenplay is littered with too many subplots and diversions that take away from the central story and hammer in the already conspicuous themes, while causing the film to drag on for the last fifteen minutes. Yet Weitz’ direction over the cinematography, editing, and music (courtesy of Badly Drawn Boy) makes this a unique if shaky father-son drama that boasts a terrific performance from Robert De Niro. B
Jonah Hill and Channing Tatum are undercover teens in this hilarious action-comedy.
21 Jump Street–Well, this is surprising. Just like above where I was talking about the difficulty of adapting novels onto the screen, it’s even harder (and almost impossible) to do the same with old TV shows. But if you mix together a surprising respect for the source material and the wit and talent of Jonah Hill, you get a very entertaining action-comedy. Hill and Channing Tatum (strange casting that actually works) star as two irresponsible cops who are reassigned to an undercover program where they pose as teens in order to bust a drug ring that’s pervading numerous high schools. Instead of purely emulating and mocking the style of the ’80s television show, this comedy favors updating the themes of re-experiencing high school and fitting in–making it all the more timely and hysterical. Hill (who co-wrote the script) ignites the premise with a energy that’s very reminiscent of Superbad, as he gives a consistently and reliably hilarious performance. Channing Tatum is surprisingly funny, as well, with his role playing off of the actor’s certain limitations in a self-deprecating but effective way. The supporting cast is also strong, with Brie Larson, Ice Cube, Nick Offerman, and Ellie Kemper playing comedic roles. But what differentiates 21 Jump Street from other (and more banal) comedies out there right now is its insistence to not pigeon-hole itself into a one-note mockery. Instead, it blends a few genres together (comedy, action, and romance) and experiments with each one until the film genuinely comes off as a very entertaining and funny hybrid. The script tells an engaging story full of biting and memorable one-liners, and the film’s pace never leaves traces of boredom or unnecessary diversions. 21 Jump Street is a surprisingly funny and entertaining comedy whose appeal and wit are pleasantly expansive. B+
Cinemaniac 