New in Theaters: ‘Foxcatcher’

Steve Carell and Channing Tatum in 'Foxcatcher' (Sony Pictures Classics)

Steve Carell and Channing Tatum in ‘Foxcatcher’ (Sony Pictures Classics)

One of the first films that the smart money says will be a 2014 Oscar contender, Foxcatcher is a stranger-than-fiction true story about a potentially insane man of wealth and his obsession with wrestling in general and a pair of Olympic wrestlers in specific. Given its solid performances from all involved (Mark Ruffalo, Steve Carell, Channing Tatum) and the pedigree of director of Capote and Moneyball, it certainly has a shot at the Oscars; whether or not that’s deserved is another story.

Foxcatcher is opening this week. I reviewed it for Film Racket:

There’s an old joke about how poor people are crazy but the rich are merely eccentric. Bennett Miller’s based-on-a-true-story Foxcatcher vividly illustrates that joke. After all, how many poor people are allowed to own an armored personnel carrier with a .50 caliber machine gun, openly snort cocaine, wave revolvers around, and make documentaries about their pretend achievements, and not be called crazy? John du Pont was the scion of an industrial dynasty with an 800-acre estate and bank vaults full of money. Because of that, he is allowed to follow every controlling desire, even though anybody can see it will end in tragedy. The tautly acted but dramatically deficient Foxcatcher is the story of how a pair of brothers from humble means were pulled into du Pont’s orbit of pathology by the promise of greatness and kept there by the lure of money…

Here’s the trailer:

Department of Shameless Self-Promotion: Academy Awards Edition


The Oscar-nominated ‘August: Osage County’ – #13 of the year’s top 25 films covered in ‘Eyes Wide Open: 2013′

The best approach to take to tonight’s blitzkrieg of hype, blather, nonsense, tears, bad jokes, and long strange stretches of awkward silences—we’re speaking, of course, of the 86th Academy Awards—might be that proffered by Anthony Lane:

Whether Leonardo DiCaprio or Matthew McConaughey, or neither of them, will be crowned Best Actor is a matter of such brazen unimportance that we have gone crazy trying to call it.

Brazen unimportance, indeed. That being said, it was a fantastic year for film. And if it takes a gargantuan mediapocalypse like tonight’s Oscars broadcast to bring attention to some of those films, if sending actors strutting down a red carpet and answering the same questions they’ve been answering for six months now will get another few thousand people to seek out August: Osage County, then so be it.

Eyes_Wide_Open_2013-_Cover_for_KindleI covered many of the Oscar-nominated films in this year’s edition of my annual film guide, Eyes Wide Open — it’s available in paperback or more instantaneously in ebook from. Here’s a quick rundown of the Oscar-nominated films included in the book and where they ranked in my lists:

  • 12 Years a Slave (Best Picture, Actor, Actor-supporting, Actress-supporting, Costume Design, Director, Editing, Production Design, Adapted Screenplay) — #2:Steve McQueen’s blistering adaptation of Solomon Northup’s pre-Civil War memoir about being kidnapped into slavery in Louisiana is memorably horrific and heroic in equal measures.
  • Gravity (Best Picture, Actress, Cinematography, Editing, Director, Original Score, Sound Editing Production Design, Sound Mixing, Visual Effects) — #3: “Alfonso Cuaron’s stunning outer-orbit thriller hinges on the parallel between a character’s personal isolation and the terrifying physical isolation of space.”
  • The Wolf of Wall Street (Best Picture / Actor / Actor-Supporting / Director / Adapted Screenplay) — “An overly slick comedy with painted-on cynicism.”
  • Inside Llewyn Davis (Best Cinematography / Sound Mixing) — #9: “The Coen brothers are caught between their Barton Fink and O Brother, Where Art Thou? modes in this wintry dream-odyssey of a deadpan comedy swaddled in gorgeous music.”
  • August: Osage County (Actor, Actress) — #13: “A saga of family and dysfunction—cleanly truncated by Tracey Letts from his 3-hour-plus Pulitzer Prize-winning play—whose dark, acid humor never undercuts the recurring tragedy glowering underneath.”
  • Frozen (Best Animated Feature) — Honorable Mention: “Disney’s impeccably animated return-to-form is both Broadway-ready musical and sweetly inspirational sibling melodrama where for once the choice for the heroine isn’t which man to choose.”
'Much Ado About Nothing' -

‘Much Ado About Nothing’ – No Oscar nominations but #18 of the year’s top 25 films covered in ‘Eyes Wide Open: 2013′

Lastly, here’s a few of the films most deserving of gold statuettes that were most egregiously overlooked but made it into Eyes Wide Open:

  • Stories We Tell — #1: “Sarah Polley’s fractured family history is a beautiful and thoughtful story about how our pasts don’t just happen, they’re created.”
  • Upstream Color — #8: “A metaphysical love story that baffles and excites in almost equal measures.”
  • Much Ado About Nothing — #18: “Joss Whedon’s minty-fresh adaptation turns his team of quick-witted TV actors on Shakespeare’s most durable comedy and comes up a winner.”

Last word on the Oscars, as often makes sense, to Anthony Lane:

We are already looking forward to looking back in anger at the awards that confounded our hunches, at our loss of the office sweepstake, at the stop-start tears, the sagging jokes, and the normally rational women who choose, for one night only, to dress like exploded cupcakes.

New on DVD: ‘The Grandmaster’

Zhang Ziyi and Tony Leung compare styles in 'The Grandmaster'

Zhang Ziyi and Tony Leung compare styles in ‘The Grandmaster’

dvd-grandmaster-cvr-200The great Hong Kong romantic Wong Kar Wai (In the Mood for Love) hadn’t completed a feature film since 2007′s misfire My Blueberry Nights. So it was pretty good news to hear that his latest film was going to be a classic martial-arts extravaganza, reuniting Tony Leung and Zhang Ziyi with The Matrix choreographer Yuen Wo Ping.

The Grandmaster, which received well-deserved Oscar nominations for cinematography and costume design, will be released on DVD and Blu-ray next Tuesday. My review is at PopMatters:

“Don’t tell me about your teacher,” says Ip Man (Tony Leung) at the start of Wong Kar Wai’s dreamlike heartbreak of a kung fu film, The Grandmaster, “or brag about your style.” Using that same steady humility flecked with a hint of the sardonic that’s made Leung such a crucial counterweight to the Hong Kong school of overkill filmmaking, he preemptively bleeds the hot air out of what’s to follow. This is a good thing, because that scene is intercut with the already-legendary scene in which Ip Man faces down a dozen or so adversaries in pouring rain. He dispatches them all with practiced ease but not a whiff of arrogance, just as the real Ip Man’s student Bruce Lee would do on film decades later…


Here’s the trailer:

New in Theaters: ‘Omar’

Training to kill in 'Omar'

‘Omar’: Terrorists or freedom fighters?

Omar-posterIn the Oscar-nominated thriller Omar, a young Palestinian man in the West Bank is faced with two challenges: First, how to convince his friend that he’d be a good bet to marry the friend’s little sister? Second, and more importantly, how does he escape the law after helping to murder an Israeli soldier?

Omar opens this week. My review is at Film Racket:

For such a razor-sharp thriller, the West Bank-set Omar smuggles a dense packet of ambiguity into its compact running time. This shouldn’t be a rarity, given how many stories there are about the conflict between occupiers and occupied, the dueling taxonomy of “freedom fighters” and “terrorists.” But too often these clashes are related in absolutes, where one narrative is bought into more than another. Hany Abu-Assad’s skillful story wrestles with those grey moralities without spoon-feeding one or the other to the audience. It’s a story about people, not ideologies, but it knows how inextricably the former intertwine with the latter…

Between a rock and a hard place.

Between a rock and a hard place.

Here is the trailer:

Now Playing: ‘Gloria’

The sublime daffiness of Paulina García in 'Gloria'

The sublime daffiness of Paulina García in ‘Gloria’

gloria-poster1Chile’s submission for this year’s Foreign Film Academy Award, Gloria, doesn’t have the most instantly engaging of storylines: single woman tries to find love. But with deftly rambunctious storytelling and one of the greatest, most soulful performances you’re likely to see all year, it achieves tragicomic greatness.

Gloria is playing around the country right now in limited release. My review is at PopMatters:

…[The film] is shaded with both a dark melancholy and a bright, getting-on-with-it playfulness. Gloria endures more than her share of spirit-crushing moments, but these appear in between glimmers of joy that buffet her relentless persistence, her will not to sink into a sinkhole of near-retirement surrender. There’s no certainty that she will find any kind of new love again, or forge some new kind of bond with children. If she’s going to carve out a happy life, it will be in her hands, not dependent on approvals from her family, friends or lover…

Here’s the trailer:

Now Playing: ‘The Great Beauty’

The great Tom Servillo lives it up in 'The Great Beauty'

The great Tom Servillo lives it up in ‘The Great Beauty’

greatbeautyposterEvery now and again, a filmmaker is able to conquer the cinematic world with a work that might not have a lot to say (coherently, at least), but it throws enough at the viewer to send them away impressed and a little dazed. Last year’s version of that film was Paolo Sorrentino’s The Great Beauty, a bright and comic variation on Dante’s Inferno that doesn’t hold together in the light of day but seduced enough lovers of Rome and the high life to garner an Oscar nomination.

It’s still playing in arthouses across the land and likely will through the Academy Awards. My review is at PopMatters:

Spectacle is everything in Paolo Sorrentino’s fabulistic Roman candle The Great Beauty (La grande bellezza), and why not? He’s a grand visualist and ringleader of chaos whose talents might remind you of Fellini and Scorsese. Like those directors, however, his films can also suffer for lack of story. It’s almost as though the images come piling up one after another with such rapidity that a framework must be created for them, rather than the other way around. Whatever might have inspired The Great Beauty, it doesn’t come close to sustaining the resulting film. But what a show…


Here’s the trailer:

New on DVD: ‘Les Miserables’


lesmiserables-dvdEvery few years, Hollywood decides to go back and see whether it’s worth reviving the musical. Generally it’s well received, but then instead of getting back into the genre, they wait a few more years for the next one. So it was with 2012′s Les Miserables, an adaptation of a musical that trends ponderous on stage but comes alive under Tom Hooper’s deft direction. 

It’s available now on DVD and Blu-ray. My full review is at Film Racket; here’s part of it:

Some stories are so bulletproof that even a tuneless Russell Crowe can’t deliver a mortal wound. There are also some so prone to overwrought pathos that even a fearsomely committed Hugh Jackman and Anne Hathaway, working every creative muscle in their bodies, can’t quite elevate to greatness. In Tom Hooper’s labor-of-love adaptation of the workhorse musical Les Miserables, nearly all the story’s strongest and most crowd-pleasing elements are passionately brought to the fore…

You can watch the trailer here: