Review: August: Osage County (2013, Dir. John Wells)

 

Julia Roberts, Meryl Streep, and Julianne Nicholson spar it out in this adaptation of Tracy Letts’ play.

August: Osage County – Featuring one of the best acting ensembles of the year, John Wells’ adaptation of Tracy Letts’ Pulitzer-winning play, August: Osage County, is imperfect and shaky as it is entertaining. The film (and play) tells the story of the Weston clan, led by patriarch Beverly (Sam Shepard). But when he suddenly passes away, the entire family reconvenes to help impulsive, pill-popping mom Violet (Meryl Streep) get through the grief. However, the supportive gathering turns into a verbal battleground as secrets are revealed, family ties are strained, and important choices are made. Of course, the actors are pretty much all aces in their roles – Julia Roberts, Julianne Nicholson, and Juliette Lewis are fantastic as the three central sisters, as are Margo Martindale and Chris Cooper as their aunt and uncle. Streep, unpredictably, is terrific as well. But the main problem with August: Osage County is its fumble from the stage to screen. It fails to manage and sustain the play’s witty, black, and acerbic tone. The humor and clichés in this film adaptation feel uncomfortably forced as Wells tries to smooth over the stinginess of Letts’ play and script rather than allow the source material to retain its sour but cathartic edge. Furthermore, the film’s musical score is annoyingly intrusive and manipulative – potentially quiet and stirring moments are ruined by musical booms, while the film’s ending neglects the play’s powerful ambiguity in favor for a conventional, fitting finale. It’s a shame, because the integrity and humor of Letts’ play could have translated into something really unusual, compelling, and cinematic. But, that’s not to say that Wells does not muster up some great moments in his film. The twenty-plus minute dinner scene is absolutely dynamite and outrageous; it cinematizes the play’s signature act with brilliant editing and makes the most out of the ensemble. Also, the funeral sequence is deftly done and there are some nice, subtle character moments that shine (especially involving Nicholson’s character with her cousin, played nicely by Benedict Cumberbatch). These scenes, along with the ensemble, make August: Osage County forgivable and still enjoyable. Streep is icy and biting as the matriarch, exuding a brutal disappointment in life and an unpredictable aggression. There are moments when Streep’s performance gets a bit too wild, but this has less to do with her acting capability (obviously) and more with Wells’ refusal to reel her back. Roberts, meanwhile, gives perhaps her best performance ever – she handles the dialogue perfectly and hilariously, conveying Barbara’s fiery temper and emotional fragility. She’s the best part about the film and her turn is shocking, hysterical, and moving. Nicholson is soulful as Ivy and Lewis displays some great comedic timing as Karen, proving she’s an actress with underrated talents. Cooper, Martindale, Cumberbatch, and Ewan McGregor round out the ensemble with strong supporting turns, as well, but don’t get the moments like the sisters and their mother do to shine (they’re victims of the play’s truncated runtime for the screen). Wells’ handling of Letts’ play is not without its noticeable flaws, but August: Osage County is still a fun and occasionally moving display of terrific acting – but don’t expect much more. B-

Here’s the trailer:

Best of 2011: Performances

With the Critic’s Choice Awards last Thursday and the Golden Globes tonight, I’ve started to think not only about the best films of the past year but also the tremendous, dynamic performances that have been offered and discovered. Several great actors and actresses made incredible comebacks, boldly introduced themselves to cinema, or just simply reminded audiences why they’re at the top of their profession. Now, I want to acknowledge the four best performances of 2011 in terms of category (lead and supporting for both genres, with three ‘honorable mentions’ for each), which will hopefully give you a sense of what the awards season will bring and what I thought of the acting in the past year.

Best Lead Male Performance: 

Michael Fassbender in Shame

The best male lead performance of 2011.

In Steve McQueen’s sophomore film (after the striking Hunger), the audience is confronted with an unusual main character. He’s indulgent. He’s dependent. He’s selfish. It’s challenging, but we find ourselves able to connect with Brandon; his vulnerability is what is both alarming and appealing, despite his monstrous and all-too-human impulses. This connection would not have been possible if Brandon had been brought to life by anyone other than Michael Fassbender, who gives a startling, impeccable, and frightening performance that expertly balances rawness and compassion. He’s not someone we sympathize with or really want to, for that matter. But Fassbender’s incomparable turn makes him someone we can begin to understand, examine, and even feel.

Runners up: 

George Clooney in The Descendants 

He's always been funny and charming, but Clooney reaches honest depths here.

Tom Hardy in Warrior

In the most overlooked performance, Hardy is transformative and haunting.

Michael Shannon in Take Shelter

Michael Shannon effortlessly evokes ambiguous paranoia in this stellar indie.

Best Female Lead Performance: 

Charlize Theron in Young Adult

The best female lead performance of 2011.

It’s always fascinating to see yourself become aligned with a character so malevolent, unlikable, and cold. Just like Fassbender above, Theron exceeds each and every expectation and defies our doubts–her Mavis is a touch, mean-spirited, single-minded woman so warped by her self-obsessiveness that we can’t help but feel bad for her. And that is where the alignment begins, and where we actually start to recognize ourselves in Mavis. Other actresses would maybe play up the superficial traits of this character for laughs, but Theron makes it her own. She masters each smirk, each hint of jealousy and self-hatred so authentically that we can’t help but call this performance both breathtakingly original and familiar. In other words, Theron does just about the impossible–she makes Mavis a walking, talking, and especially, drinking human being we all know too well. That’s why the movie stays with the audience, because of Theron’s commitment to a performance based in absolute truth.

Runners up: 

Tilda Swinton in We Need To Talk About Kevin

Commanding and awe-inspiring, Swinton is just about perfect as a lonely and fractured mother.

Kirsten Dunst in Melancholia

Dunst is both remarkably stoic and turbulent as a bride bound by depression.

Meryl Streep in The Iron Lady

Far from a mere impersonation, Streep's performance is electric but grounded.

Best Male Supporting Performance:

Albert Brooks in Drive

The best male supporting performance of 2011.

About ten minutes into Drive, after the exhilarating opening and introduction to Ryan Gosling’s protagonist, we’re introduced to Bernie Rose. He’s overseeing Gosling’s driving skills, looking unimpressed but somewhat lenient as he stands there with his heavy sunglasses. He has a hoarse, deep, but fluctuant voice, and a menacing look. We already know he’s a villain, but there’s that extra ounce of terror that still needs to be established–and it is accomplished with ferocious but subtle energy by Albert Brooks. Wait, Albert Brooks? From Lost in America, Broadcast News, Defending Your Life and The Muse?! That Brooks? Unexpected (but perfect) casting claims its throne with Brooks’ turn in Drive, giving the film an ominous cloud of fear, anxiety, an cold-bloodedness that cinema hasn’t experienced since Anton Chigurh from No Country For Old Men. To say Bernie Rose is the year’s best villain would be an understatement and a disservice to Brooks, given that his performance transcends terror.

Runners up:

Jonah Hill in Moneyball

Hill is understated and restrained in one of my (other) favorite performances.

Corey Stoll in Midnight in Paris

Stoll perfectly captures Hemingway's wry, intimidating, and poetic spirit.

Christoph Waltz in Carnage

Waltz is venomous and hilarious as an immaturely stern parent in Polanski's adaptation.

Best Female Supporting Performance: 

Charlotte Gainsbourg in Melancholia 

The best female supporting performance of 2011.

This is probably my most surprising pick to many of you but, frankly, I’m the one surprised that this performance has been unfairly overlooked this entire season. Kirsten Dunst (as I’ve claimed before) gives a tremendous turn as a woman paralyzed and transformed by depression–but von Trier’s character is one side of a coin. On the other side, there’s Gainsbourg’s Claire, the impatient and naive sister who witnesses her own loss of control. In a film with broad and edgy elements of melodrama and science-fiction, it’s Gainsbourg’s performance that gives the film its startling and surprising dose of reality. We all know what we’re watching is mythical and even outlandish (which is why it’s so awesomely entertaining and provocative), but Gainsbourg’s Claire is the prism through which we understand  and make the personal connection to this oppressive nature of depression. She’s utterly graceful, vulnerable, and unpredictable, exposing a range that conveys self-control, panic, and everything in between. If anyone thought her last outing with von Trier resulted in a hollowly insane portrayal (I didn’t, but I know many who surely think so), Melancholia will happily (well…) prove you wrong. She’s nothing short of fantastic.

Runners up: 

Jodie Foster in Carnage

In another ignored performance, Foster is eclectic, shocking, and very funny.

Jessica Chastain in Take Shelter

Chastain was at her best this year as a wife compelled by suspicion, support, and intrigue.

Melissa McCarthy in Bridesmaids 

It's hard to simultaneously amuse and enlighten an audience, but McCarthy hilariously nailed it.

 

Well, there you go everybody. Make sure to watch the Golden Globes tonight, keep an eye out for the Oscar nominations, and let me know what you think!

 

 

 

Reviews: Tinker Tailor Soldier Spy (2011, Dir. Tomas Alfredson), Extremely Loud and Incredibly Close (2011, Dir. Stephen Daldry), & The Iron Lady (2011, Dir. Phyllida Lloyd))

Gary Oldman infuses a raw, melancholic, and effective spirit into the role of George Smiley.

Tinker Tailor Soldier Spy–Director Tomas Alfredson gained a lot of admiration and cinema-cred (yup, it’s a new one) for his daring, subtle love story and vampire flick, Let the Right One In. And with his newest film, he proves he’s not a one-trick pony as he skillfully adapts and finds an uncommon thematic and emotional thread in John Le Carre’s spy novel. Gary Oldman leads a stellar ensemble as retired MI6 agent who is forced back into the field when it is suspected that there is a mole in the British Intelligence agency, and specifically in his particular group of acquaintances. As simple as the story sounds, the film takes several twists and turns that test any audience member’s attention skills as well as toleration of plot contrivance. And though it somewhat manipulates the viewer’s focus in this sense (we spend too much time trying to piece certain elements together rather than being immersed or hooked into the story), Tinker Tailor Soldier Spy is still a competent and intriguing film. Alfredson’s direction is steady despite the script’s misguidedness, while the cinematography and editing are supreme–the film looks beautiful yet understated, matching the intrinsic and gloomy tone. The cast is uniformly excellent, as well. Oldman plays Smiley (the retired lead) with such a controlled restraint that it’s exhilarating to watch him walk the line between passivity and integrity. He nails the conveyance of the character’s ambiguous notions and morality. Supporting him are John Hurt, Colin Firth, Mark Strong, and Tom Hardy in finely tuned performances as other constituents of the national conspiracy. Yet it’s Benedict Cumberbatch who comes off as the real stand out as a personal and professional aid to Smiley in the case, exuding a sense of stern loyalty and hidden vulnerability that introduces the theme that the film so well thematizes. Though Alfredson can’t keep the plot points straight, it’s the heartbreaking corrosiveness by the system and how detrimental it is to man and his humanity that Tinker Tailor Soldier Spy cinematizes with the ultimate skill. The final sequence, in particular, haunts with its echoes of this theme (and the tune of the classic song, “La Mer”). And, that, is the terrific redemption found in Alfredson’s adaptation. Unnervingly confusing it may be, but this spy thriller really triumphs as a study of the fractured souls of men under the worst pressures of cynicism, deception, and internal confinement. B+

Here’s the trailer:

Sandra Bullock and Thomas Horn star in Stephen Daldry's adaptation of the beloved book.

Extremely Loud and Incredibly Close–Stephen Daldry has three impressive films (and Best Director Oscar nominations to go along with them) under his belt that all deal with themes of adolescence, confinement, and the desire to better one’s current situation. Thus, it’s no question as to why he both was sought after and is involved with the adaptation of Jonathan Safran Foer’s Extremely Loud & Incredibly Close, which follows a young boy’s search for a lock that matches the key his father left behind before he was killed in the 9/11 attacks. Newcomer Thomas Horn stars as Oskar Schell, the protagonist who enlists the help of several strangers to find the miraculous match in the five distinct boroughs of New York City in the hectic, uncertain post-9/11 world. I knew I would have hesitations about the film and, yes, there are certain issues I will address, but one is (surprisingly) clear: the film treats the events of September 11th with the utmost sincerity. It’s not used as a cheap manipulation device or plot instigator at all; if anything, it’s a suitable and timely backdrop for a story about grief and what comes after. That said, the film’s issues lie more in the realm of storytelling. Daldy tries a bit too hard to match the film’s pace with his complete characterization of Oskar, a precocious, confused, and honest child (who hints that he has Asperger’s syndrome); while the editing is impressive, this adds a jumpiness to the narrative that is disorienting and distancing. While this mainly lasts for the first third of the film, it would have benefitted from having a more conventional introduction so that the audience can be acquainted with Oskar and his situation much more naturally and effectively. I’m not saying that the film suffers from originality, for it nails the character’s distinct traits and mentality (aided by a wonderful performance by Horn), it just would have added an ounce of more coherency which could have made a much more emotional impact. Other than the direction, the score is beautiful and haunting at some times but is mostly overbearing and trite–it’s presence is unwelcoming as it conditions some well-written scenes into more didactic territory. That all said, I was pleased with the care placed in the film. Despite these flaws, there’s an intriguing and moving story in the center that takes a successful charge for most of the latter part (with special thanks to Eric Roth’s brilliant script). Tom Hanks (as Oskar’s father), Viola Davis, and Jeffrey Wright all give brief but effective turns in the film, but the performances by Horn, Sandra Bullock, and Max Von Sydow are worth really mentioning. Horn is excellent and poignant as Oskar, while Bullock solidly breathes authenticity and humanity in her grief-ridden role. Sydow, as a silent character, has such emotion in his face without ever uttering a word that it’s easy to keep your eyes just on him in all his scenes. Immediately after watching the film, I was certainly moved but left with a conflicting feeling that (over the past few days) has seemed to favor the strengths of Daldry’s work. But I’m mostly thankful that Extremely Loud and Incredibly Close is, flaws aside, a mature study of grief and catharsis without every employing the 9/11 tragedies in a manipulative way. B

Here’s the trailer:

 

Meryl Streep tackles another real-life figure in this biopic of the longest-serving English Prime Minister.

The Iron Lady–“Leave it to Meryl Streep to deliver an impeccable performance in an imperfect film.” is probably a sentence a lot of filmgoers are uttering about the Oscar winner’s newest film, but I think ‘imperfect’ would be doing it a disservice. I was quite surprised that this is actually a poignant, inventive look into the life of Margaret Thatcher, despite the liberties it takes. Streep stars as the titular Thatcher, playing the first female (and longest-serving) Prime Minister during her political career of handling the IRA bombings, Falkland Island crisis, and the end of the Cold War, while also portraying her in her contemporary life as reflective yet dementia-ridden. Technically, the film is gorgeous and distinctive. The cinematography is bold, with excellent hand-held shots and unusual framing to enhance the surrounding of the familiar subject, while the editing is terrific as it expertly ties together her fading memories with real-life footage. Director Phyllida Lloyd, who previously worked with Streep on the overrated and (for me) unbearable Mamma Mia!, strikes up a much better partnership with the actress in this decisive biopic that never strides away from its slightly-critical-yet-still-warm tone. The main problem is with Abi Morgan’s script. It’s highly inventive and original, which is refreshing, but it does tend to invite a few moments of doubt. For instance, scenes involving the older Thatcher seeing her dead husband (the always reliable Jim Broadbent) are quite imaginative yet can verge on preposterous. Other scenes with her in office are powerful and revealing, but mostly based on speculative theories. It’s the same issue that dents any biopic–scenes can crackle with intensity and emotion (and many do in The Iron Lady), but one can’t help but question the authenticity and honesty  behind such exchanges. Does Thatcher really see her husband that way? Did she really act like that in one of her final consensus meetings? If you can let go of the doubt and leave your cynicism at the theater door, there’s much to enjoy. I especially appreciated the unbiased depiction of Thatcher; it seems her politics were expelled from this certain study in favor for a much more human examination–it made the film less distracting, and more thrilling. But, obviously, the best element of Lloyd’s film is the commanding, dynamic, and controlled lead performance by Streep. Come on, you don’t even need to ask. She makes this public figure compelling, shocking, and even relatable with just one look. She’s fantastic and, yes, she deserves the attention she’s receiving, for it’s definitely her best performance since her turn in Adaptation. If you can suspend your disbelief, you’ll find a lot to be intrigued and moved by in The Iron Lady. B+

Here’s the trailer: