All you need is a little hug and support from daddy, and you won’t start robbing banks.
Handsome Luke (Ryan Gosling) is a stunt motorcyclist at the circus who returns to an upstate town where he meets up with a former fling of his (Eva Mendes), only to find that she has a baby of his. In need to support his child and soon-to-be family, Luke decides to start robbing banks and pulling off heists with a buddy of his (Ben Mendelsohn). After this, we see the cop who runs into a problem with Luke, Avery Cross (Bradley Cooper), and how he deals with the corrupt cops in his jurisdiction, while also keeping his head afloat. And we also see two kids, Jason (Dane DeHaan) and AJ (Emory Cohen), meet up together in high school, develop a friendship, and realize that there may be more between them that they never thought was possible.
Not only is this movie hard to describe with it’s synopsis, but it’s also even harder than hell to review it. Why? Well, it’s one of those flicks that just so happens to be built on the idea of it’s twists, it’s turns, and it’s surprises, which therefore means, any type of spoiling of those said twists, turns, or surprises, would not only be a crime against me as a critic, but a crime against you as readers. Also, it’s pretty damn hard to review, because I still don’t know how or what I still feel about it all.
What made me think this flick was going to be close to the second-coming of Christ, was not just the kick-ass trailer or the wonderful reviews it’s been getting so far, but was because of it’s director: Derek Cianfrance. Many people know the dude from his directorial-debut, the perfect date movie, Blue Valentine, and know that the guy has a knack and flair for telling an effective, compelling story just by using characters, plot, details, and dialogue. That’s it, and it’s nothing more. That’s why when it came to him tackling a flick that was like a mixture of the Godfather and the Town, I had no problem with it all, mainly because the guy seems like he knows what he’s doing and seems like he’d do anything that’s far from being deemed “conventional” or “predictable”. Granted, we’ve only seen him do one movie so far, but if that’s the consensus the guy has to work on: it’s pretty damn solid, I”d have to say so for myself. Sadly, this movie doesn’t come close to hitting his last. Sadly indeed.
But without jumping down it’s neck about the bad, let’s get into the good that will most likely lead into the bad. Rather than jumping back-and-forth from story-to-story without ever making it clear as to what the hell’s going on or how are these peeps’ paths going to cross next, we get three stories, that are told in their own, separate formats, without barely any interruptions at all. The first story is about Luke and how he handles being a daddy, but also a bank robber at the same time. Not only is this the most exciting story out of the three, but it’s also the best. The main reason being because it’s filled with so much energy, entertainment, tension, suspense, and emotional heart, that it gets you ready for what you think you’re about to witness. You automatically think that this whole movie is going to play-out like this first story where we all get all the action and flair, but still some grounded-sense of reality and depth, but that’s not how it all plays out.
Instead of doing the smart thing and keeping up with this sense of intensity, Cianfrance takes the film down a notch and keeps it grounded in the sense that we are watching a movie, and a tad predictable one at that. After we switch gears over to Cross’s story, we start to see the movie delve more into the conventional-side of itself where we see police corruption, people with badges doing mean things, and worst of all, Ray Liotta playing a sincerely, despicable human-being. He’s good at it, but can’t we put Tommy Vercetti up to something else nowadays. How about a role as an inspirational father-figure that does sensible acts for the rest of society? Huh? Not buying it? Oh well, at least I tried.
Anyway, where this flick takes a turn for the worse is not just because it begins to get, dare I say it, generic, but because it seems so obvious. Without telling you exactly what happens or how, there are certain elements of the plot that seem to be so predictable, that it gets to the time of where I could literally pin-point exactly who knew who, how they knew them, and how they were going to tell each other how they knew one another. It got to be a bit of annoyance and seemed more like Cianfrance took the idea of conveniences between two characters, as a way to show us that there’s a twist coming up, or something that we don’t seem to expect, but yet; we do.
That’s not to say that the whole film is like this, because as a matter of fact, most of it is damn good I have to say. There are moments where I was literally on-the-edge-of-my-seat without any other thought or idea that would take me away from this movie, anywhere near my head, and it completely compelled me. And that’s not just the Gosling parts, that’s the whole movie and it surprised me with what Cianfrance was able to bring up next, and how. The guy doesn’t depend on his dialogue here as much as he did with his last flick, but the atmosphere and mood is still there to mess with you and because of that, I have to still give the guy kudos for always allowing us to set our sights on something worth watching here. Can’t say that about many film makers who churn-out a movie a year, but thankfully, I can say it about this dude.
The problem is, after two hours and thirty minutes (yes, that’s how long it is), I was still left with an idea in my head: what the hell was that all about? The ideas and themes of there being issues between a father and a son, how we all look out for one another, and how hard it is to stay true to yourself in a world of evil and hate, are abundantly clear and here, and hit us in the face as much as beers to an alcoholic, but never seem to be worth the wait for. Honestly, when all of these stories do finally get the chance to come together, make some sense, and have us make up our minds on what to think of, it feels like a bit of a waste, mostly because nobody really solves anything. Gosling’s story ends a bit too quickly for us to feel like his life’s problems are solved, Cooper’s goes on and on without any clear happiness in sight, and the final story seems like it was all made for us to see how tension still arises, even as the new generations come alive.
It made no sense to me as to why this flick was named the way it was. The Pines definitely serve some sort of metaphor for each of these characters and the way they go about their business, but it didn’t seem reasonable. Certain things are said, and are left unsaid, but they never felt right. As the film continued to go on and on, these characters begin to pull off acts and stunts that not only seem unreasonable, but almost stupid. I get that people can deal with grief and sadness in all sorts of ways, but there comes a point in this flick where it just doesn’t make sense any more and feels like instead of dealing with real human-beings that have feelings, emotions, and a sense of right and wrong, we are dealing with a bunch of wacked-out peeps that act solely on a gut-feeling of anger and violence, without rhyme or reason. There are people out there who live like this, but in a flick like this, it didn’t seem right and didn’t make sense when you take the whole ending into actual consideration. If none of this makes sense to you now, please, go and see this movie and realize that there is a message to what I’m saying, as confusing and as bum-fucked as I may sound.
Thankfully, the ones that hold this flick together is the more-than-able cast of heavy-hitters that do what they do best: be compelling, no matter who it is that they are playing. The person from this cast that I think of the most when I say that, is without a doubt Ryan Gosling as Handsome Luke. Gosling not only uses that innate-likeability to his favor here, but also shows us that he still has the able chance to still scare the sheets off of us, and never know whether we can root for him, or boo him. Gosling has what it takes to make this character work and makes him the most fascinating out of them all, mostly because he strives to be more than just a convention: he actually has a beating-heart that doesn’t always make the right decision every step of the way, but at least tries to make up for them.
Eva Mendes plays his sugar-bunny that’s good, in probably the most-dramatic and compelling role we have ever seen her play before. Not only does Mendes do a perfect job at being able to not look hot or sexy, as hard as that may be for her, she also never forgets to remind us that this is a troubled and lonely woman, that we never lose sympathy for. Ben Mendelsohn is also a butt-load of fun and joy to watch as his buddy, a former-robber who helps him out nowadays, but don’t be fooled: this guy has a mean-streak to him that shows in a despicable-way.
Bradley Cooper is great as Avery Cross, the cop with a heart. Cooper really does well at being the type of guy we can feel for and trust, even when he doesn’t seem to do the right thing, and makes you understand why the guy has such a hard problem to think for himself, or take matters into his own hands. He gets to be a bit of a self-righteous dick by the end of this thing, but no matter what, he always stayed true to his character, his motivations, and what he strives for in life. Rose Byrne plays his wife, that I wouldn’t say is still in dullsville here, but doesn’t seem to have much to do other be a chick that never stops complaining about how he’s a cop and always has the chance of dying on the job. You did marry him, didn’t you? So why the ‘eff you bitchin’ at him?!? Let a guy do his job and get that money, money!
Lastly, the performances from Dane DeHaan and Emory Cohen as the two kids that meet-up in school, is good in the way that it paints an interesting portrait of what it’s like to meet someone, and not have any idea what to expect from them, but that’s about as much as I can tell you right there. Just know this, DeHaan is great and definitely uses that angst-fueled look to his advantage, and know that Cohen tries to do the same, but his character is too much of a dick for us to really care about him at all. Okay, I think you know enough by now. Time for me to shut up and just go the hell home.
Consensus: With a more-than-reliable cast, suspenseful mood, well-written characters, and interesting plot-changes, The Place Beyond the Pines never loses focus on it’s story or what it’s trying to convey about it’s character, but loses grip with reality and begins to get more and more theatrical and obvious as it goes along. No matter what, you will feel compelled by this, but it starts to shy-away sooner than later.
7.5 / 10 = Rental!!
Rich people can be sad too.
Bobby Walker (Ben Affleck), Phil Woodward (Chris Cooper) and Gene McClary (Tommy Lee Jones) are living the American dream: great job, beautiful family, shiny Porsche in the garage. When corporate downsizing leaves them jobless, the three men are forced to re-define their lives as men, husbands, and fathers.
As everybody in the world knows, October 2008 was the time where we all found ourselves in an economic-crisis and yes, even though it is a bit hypocritical from a 19-year-old, who at the time, was 15 and lived with his parents, had no job, had no responsibilities and no bills to pay other than my money for lunch, I can still say that it was a sucky time for everybody and in a way, still is. Everybody was affected by it, not just the common-man, but everybody!
I start off with this middle-minded rant mainly because this is one of the biggest problems with this movie that we have here: who it focuses on. Having a story about a regular, average-Joe who loses his job out of nowhere and finds himself really struggling isn’t a story that hasn’t been done before, but would have probably been more engrossing than watching a bunch of millionaires go from everything, to nothing in a matter of a couple of weeks. Of course, the fact of the matter is that this did happen in real-life and it wasn’t just a certain group of people that were affected by the corporate downsizing, and that’s why this movie feels like it should hit harder, mainly because it’s so timeless and easy to connect with, but it just isn’t.
Watching all of these guys be pissed-off by the fact that they don’t have the money to pay for their golf clubs or their Porsches really just seemed stupid and something I didn’t really care about. It gets even worse when some of these guys still feel like they can’t tell their wives, or the people around them that they lost their job. Yeah, I get that losing your job is sort of like losing an ounce of your pride, but there comes a point where you got to nut-up, shut-up, and get moving on with your life in order to make that moolah fall from the skies. Sitting around, pissing and moaning about it, and not even telling your wife why you don’t have the money for the mortgage, isn’t going to solve shite.
But to back away from a topic and theme I guess I don’t know much about since I’m not necessarily the hardest working-man out there in the world, let me go back to something I do know a lick about: movies. The whole idea of watching these rich people be sad by the fact that they can’t spend 500 dollars on dinners any longer, definitely didn’t work for me but I was able to get past it and at least try my hardest to look at the brighter-things in this movie, which didn’t seem to come to me right away. The problem I think I had with this movie stems from what and how writer/director John Wells tries to tell his story. He tries to show us that maybe, just maybe by going back to an old-school America is the only way we’re going to live and survive in this world, but he he shows us in the most obvious and predictable way that’s enough to make the people on the employment-line just scoff at.
Don’t get me wrong, it’s obvious that this economic crisis was a very, very depressing time for all men and women of America, but Wells shows how sad and depressing it is in the most conventional ways possible. For instance, Chris Cooper’s character is probably the best example of what I mean because when his character gets fired, he doesn’t just go home, act as if nothing happened whatsoever and go out there and try to make another living with his life, no, he sits at the bar all-day, gets hammered, throws rocks at the old, corporate-building he used to work-at, and tries to act like he still works there by slugging-around the same briefcase. Same example can sort of go for Tommy Lee Jones who finds himself banging-around with the same chick that fired him, and choosing her over his dearly, old-wife, mainly because he’s just depressed. I get it, they’re sad and when you’re sad, you do dumb stuff. Get on with it!
The only light and shiny material actually in this flick, is actually the performances from the characters that try their hardest to make everything work and in a way, succeed in doing-so. “In a way”, however. Ben Affleck has the main-spotlight here as Bobby and definitely seems fit for the job of a guy who loses it all, tries to avoid it by acting like nothing has happened, only to get slapped in the face with reality and realize that he has to do a whole bunch of crap he didn’t want to do when he was rich. His character isn’t all sympathetic to begin-with, considering that he continues to blow-off the idea of saving money and not robbing the bank, but Affleck works through it and does what he can with this role. His wife, played by the always magnificent Rosemarie DeWitt, is always supportive, but at the same time, also never seems to notice how much of a dick he’s being and as hard as she can be on him for not accepting reality, she seems very lenient in terms of actually telling him what’s up in the world. I get it, they’re husband and wife and they forgive each other over everything, but she doesn’t seem all that strong and loving at all, so why the hell should be that way when the guy’s acting like a dick? Ehh, I don’t get it.
Tommy Lee Jones is doing his usual, crotchety old-man shtick that never seems to run dry, even if his character even seems to get tired of it about half-way through and begins to get all soft and weak in the knees. Tommy Lee is a great actor so this weakly-written role doesn’t do as much harm to him as it does to others, but it’s still obvious that there should be more meat for us to chew-on with this character and his emotions. Chris Cooper has the most sympathetic character out of the bunch, but like I mentioned before, seems a bit too obvious in terms of where his story goes and why. Like Jones, Cooper is a great actor so it’s not that glaring, but still, he should be given more material that’s suited for his great, acting-self.
Maria Bello is always good with what she does and is fine here as the chick that goes around firing people, and instead, more or less comes-off like a person doing her job, rather than a monster out to get people’s hearts, souls, and above all, their bank accounts. Kevin Cotsner also shows up as the blue-collared, American worker that makes a living off of hanging up dry wall every day of the week and it’s definitely a fun performance that Costner has a blast playing, even though that New England-accent seems to be way too heavy, especially in the seems with Affleck. How the hell do you have a movie that takes place in the state of Massachusetts that stars Ben Affleck, and not have him doing a Bawhstan accent? Seriously, the guy’s made for it and if you don’t believe me, watch The Town and Good Will Hunting, aka, two movies that will probably inspire you more than this.
Consensus: The premise and themes are as timeless as they may come, but when it comes to delivering on those important ideas and thoughts, the Company Men doesn’t seem to succeed with a bunch of great actors, working in thinly-scripted roles that seem to be placed-in the right category of “Conventional”.
See, Star Wars really did save people’s lives.
The movie is on the true story of a secret 1979 CIA mission during the Iran Hostage crisis in which six diplomats are rescued through a bizarre extraction plan involving a fake Hollywood film crew scouting locations for a sci-fi film named “Argo.” Ben Affleck stars as Tony Mendez, the real-life CIA exfiltration expert who came up with the idea in the first-place and has to find the strength and courage to go through with it.
Believe it or not, that silly-ass plot synopsis up there is a real-life account on a secret CIA mission that took place during 1979 to 1980 and may have you think, “just how the hell did the government trust Hollywood with saving the lives of six people?” Well, the truth is that Hollywood is good for many things, and not only is saving the lives of six people one of them, but reviving Mr. Ben Affleck’s career as well.
As director, Ben Affleck is basically three-for-three (Gone Baby Gone and The Town are his two other flicks), but this one is slightly different from those other ones as he is actually stepping out of his friendly-streets of Bawhstan, and upping his game by focusing on something bigger, and a lot larger-scale than from what we usually expect from this guy. The look and feel of this movie just put me right into a late 70′s/early 80′s vibe that not only set me in the right-mood, but never rang a single false-note to me whatsoever, even with all of the goofy mustaches, cars, and hair-do’s running around all-over-the-place.
But what really came as a total shock to me is how Affleck was not only make me feel like I was exactly right there with him in America during this time-period, but also made me feel like in the chaotic shit-hole of Iran during this time as well, and damn, was it freakin’ scary. Right from the start, we are put in this area of Iran that is just full of chaos and on the verge of collapsing, and Affleck shows this perfectly by splicing together his footage, with actual-footage taken at this time to create a realistic, if even scarier view-point of the setting where our main-story takes place in. It’s not only great in it’s realistic/very detailed look, but also how we are able to draw the similarities between the Middle East and the West’s relationship with one another, to then, and how almost nothing has changed whatsoever in the thirty-plus years since this whole “Argo” mission went down.
However, it’s not all about making a point and showing off the politics with Affleck, it’s more about the whole mission itself and that’s where most of the fun of this movie came from. The first hour or so where we are left following Affleck as he tries his damn near hardest to make this fake-movie every bit of legit as he can, is the most entertaining aspect of this whole movie, not just because it takes a lighter, and slightly, more humorous approach than the rest of the film, but because it shows you just how hard it is to actually get something made in Hollywood, regardless of whether it’s the next masterpiece or not. But, all of the hootin’ and holler soon starts to go away once the real plot of this movie kicks in, and that’s where I really started to feel the tension go up my spine and get the goosebumps working. This is where Affleck shines the most, by showing how capable he is of making you sweat your ass off, with every single, tense second that goes by. It’s worked in his other two films, and it sure as hell works here but not as perfectly.
The reason why the whole suspension of this film doesn’t work as well as Affleck’s last, two movies, is because we already know the story going on and if you haven’t already known, chances are, you’re going to be able to tell how it ends. Then again, that’s sort of the basis for all movies out there but when you have a movie that puts the whole aspect of itself, on the fact that you have to feel all tense and worked-up to really enjoy the whole movie, then you kind of have to wonder just when this movie’s time is up. I don’t know want to say that it got to that point for me, but there was a very heart-breaking point where I realized that, “okay, I already know what’s going to happen, so why the hell is Affleck wasting my time with all of these slow scenes and epic score bits?” But, I don’t want to give anything else away and trust me, if you don’t know the story going in, be ready, cause you may already know it from start-to-finish about half-way through. I did, and I think that’s where this film sort of failed in captivating me as much as I would have liked it to.
Then, it seems to get worse for Affleck as the guy doesn’t really stand-out as much with his performance as Tony Mendez. The problem with Mendez isn’t Affleck’s acting, in-fact, the guy’s pretty good when it comes to him showing his near-perfect comedic timing, as well as showing us a character that’s easy to root for, even when the odds are stacked up in his defense, more of the problem is that this character just doesn’t have much going for him that’s interesting or worth really standing behind in the first-place. Yeah, the guy singlehandedly comes up with this plan and is brave enough to go out there and finish it off himself, but he doesn’t really have much of anything else going for the guy. This is fairly evident when the film tries to shoe-horn the whole angle with him and how he misses his son and wife, even though they touch on it for about 6 minutes throughout the whole film, and then at the end, is supposed to have some big, emotional impact on us as we walk out the door. No, no, mister Ben. Not falling for it this time.
Then again, you have to give Affleck more credit because this even and plain performance, almost allows him to take a side-step to the left for the rest of his ensemble to show off and do their own thang unlike anybody else. Bryan Cranston shows up in his 100,000th movie role this whole year as Tony’s boss, and nails all of the snappy dialogue they give him, and his angry soul. I was hearing a lot of Oscar buzz surrounding Cranston and his role here and as good as the guy may be, I don’t really see it all that much since he’s not really stretching his skills as an actor by just yelling and looking mad all of the time. Still, it’s an act that I have yet to be tired of. Alan Arkin is also another guy that’s been getting a lot of buzz for his role here as big-shot, Hollywood producer, Lester Siegel. This buzz is deserved but I don’t really see Arkin getting a nomination, mainly because the guy doesn’t do anything else other than yell, scream, holler, and rant like the old man we all know and hopefully, love him for. Then, there’s John Goodman as real-life make-up artist John Chambers, who also seems to be having a lot of fun with his role and steals a lot of the scenes he’s in. However, the rest of the supporting cast is just filled, and filled, and filled to the brim with actors/actresses that you have most likely seen in about 1,000 other movies and when you see their faces pop-up here, you’re going to be going right up next to your buddies ear and say, “Hey, isn’t that the guy from that so-and-so movie?” Trust me, I did that plenty of times with my sister and I probably missed a hundred more because my mind would still be in heavy thought and not focused on who’s familiar face was going to show up next.
Consensus: Though it’s not as tense or electrifying as Affleck’s last two directorial efforts, Argo still works as a smart, funny, and entertaining thriller that covers a mission that not many people ever knew about, but was also a very important one by how it showed certain sides of the U.S. government working hand-in-hand with Hollywood in a slightly surreal, yet smart way.
So as everyone among the film community know, it is Oscar time babyyyyy!!! So that means get ready for some of the biggest upsets, wins, and probably tearful moments of the year. It was a great year in the film, and this is what has all come down to it people. The big night, and here are my predictions, I hope I do well.
Best Animated Feature: Will Win: Toy Story 3 Should Win: Toy Story 3 Wild Card: How To Train Your Dragon
Best Documentary Feature: Will Win: Restrepo Should Win: Restrepo Wild Card: Exit Through The Gift Shop
Best Foreign Language Film: Will Win: In a Better World Should Win: Dogtooth Wild Card: Biutiful
Best Documentary Short, Best Live Action Short, Best Animated Short: Will Win: Can’t say I care too much
Best Editing: Will Win: The Social Network Should Win: The Social Network Wild Card: Black Swan
Best Cinematography: Will Win: True Grit Should Win: Inception Wild Card: The King’s Speech
Best Visual Effects: Will Win: Inception Should Win: Inception Wild Card: Alice in Wonderland
Best Sound Editing: Will Win: Inception Should Win: Inception Wild Card: Unstoppable
Best Sound Mixing: Will Win: Inception Should Win: Inception Wild Card: The Social Network
Best Art Direction: Will Win: Alice in Wonderland Should Win: Inception Wild Card: The King’s Speech
Best Costume Design: Will Win: Alice in Wonderland Should Win: Alice in Wonderland Wild Card: True Grit
Best Makeup: Will Win: The Wolfman Should Win: The Way Back
Best Original Score: Will Win: The Social Network Should Win: The Social Network Wild Card: Inception
Best Original Song: Will Win: We Belong Together (Toy Story 3) Should Win: We Belong Together (Toy Story 3) Wild Card: I See The Light (Tangled)
Best Adapted Screenplay: Will Win: The Social Network Should Win: The Social Network Wild Card: 127 Hours
Best Original Screenplay: Will Win: The King’s Speech Should Win: Inception Wild Card: The Fighter
Best Supporting Actress: Will Win: Hailee Steinfeld Should Win: Melissa Leo Wild Card: Amy Adams
Best Supporting Actor: Will Win: Christian Bale Should Win: Christian Bale Wild Card: Geoffrey Rush
Best Actor: Will Win: Colin Firth Should Win: Jesse Eisenberg Wild Card: James Franco
Best Actress: Will Win: Natalie Portman Should Win: Natalie Portman Wild Card: Annette Bening
Best Director: Will Win: David Fincher Should Win: David Fincher Wild Card: Tom Hooper
Best Picture: Will Win: The King’s Speech Should Win: The Social Network Wild Card: Toy Story 3
I must say that this is a pretty solid year for the Oscar’s this year. All the nominees look just about right the only problem is how will the picks turn out? This year, everything seems like it’s coming down to Old School (The King’s Speech) vs. New School (The Social Network). The past couple of years The Academy (I hate that word) has been looking more towards hip, new films to win it’s Oscar Best Picture. Films such as Slumdog Millionaire, The Hurt Locker, and American Beauty have all been unconventional new films that have seen their taste of Best Picture gold. But there has also been countless period piece wins for films such as Gladiator, Shakespeare In Love, and The English Patient. Also, many other major award shows have already presented the Best Picture win to The King’s Speech which is really chasing up people’s noses, as many other award shows have been choosing The Social Network as theirs. In my opinion, I liked Inception more than both of them, and yeah it’s nominated, but in all honesty it has no chance of winning. When it comes down to it I think that The Social Network should win, because it is an age-defining film, that went from being known as “The Facebook Movie” to being known as the top contender for every Oscar it’s nominated for. I hope that The Academy goes for the new school, because if they had The King’s Speech win, everyone would feel robbed really.
As for Best Actor, I think that Firth deserves to win for all his years dedicate to films, but Eisenberg fully deserves it. I think what the Academy is doing more and more now, is honoring actors & actresses not for just a certain performance they had, but their careers and saying that it’s their time. I don’t mind seeing stars like Jeff Bridges, Kate Winslet, or Colin Firth win an Oscar, because of the career they have but I’d rather see the “best performance of the year award” go to the BEST PERFORMANCE OF THE YEAR.
When it comes to the Best Actress category, it seems like Natalie Portman is the sole winner for here, as she has won almost every single Best Actress nomination at every award show. However, there is once again that little idea that it’s Annette Bening’s “time” to win, as she has been nominated twice, and still has not won yet even though her career has been going on for so long. I want Portman to win, and most likely she will, but I still have a feeling that The Academy may pull something out of their pockets and surprise us all with a Bening win.
I’m very disappointed that my main man Christopher Nolan was not nominated for Best Director this year. He was snubbed for The Dark Knight, and now he’s being snubbed again, and it just pisses me off knowing that certain directors that do such a good job with daring material, don’t get the credit they deserve. I think if Nolan was nominated, he should have won, but I know it’s The Oscars, and not everything works out the right way.
This year had great films, and I’m glad to see that the Oscars have turned out to be this way. I loved 2010 as a year, and the films made it awesome. Here’s to 2011, and let’s just hope that the Oscars are awesome.
Thanks everybody for always reading, and keep on checking!!
I guess we can’t be making fun of big Ben anymore.
Career bank robber Doug (Ben Affleck) and his volatile partner, Jim (Jeremy Renner), hit a roadblock when Doug falls for bank manager Claire (Rebecca Hall), whom he kidnapped during their last heist. Worse, an FBI agent (Jon Hamm) is now trailing the thieves around their Charlestown, Mass., territory.
Ben Affleck has always been a guy in film, that stars in some pretty good movies, and then stars in some completely shit movies. But now that he has started directing, writing, and starring in his own material, it raises a lot of questions as to whether, he can actually do it all, and do it all well.
This is Ben’s second time behind the camera, and he shows that the first time, Gone Baby Gone, was no fluke. He is very good at creating suspense, and directing the hell out of action sequences. The heist scenes are some of the best I have seen in awhile, cause he keeps the camera on all the action that’s going on in this one particular event, and doesn’t go all over the place, like what most action directors in today’s world do.
This film is also a romance story, and it actually works considering it’s stuck with this heavy-action genre. Ben knows how to balance out the film with real emotional, and overall touching scenes, but knows how to put the energy one when it comes to his action scenes, and well, it doesn’t feel forced, and works well with the story at hand. The screenplay works well here too because it brings out a lot strong central themes, in the midst of all the havoc. These people are trapped in their own, little world of crime, violence, and hopelessness.
My one complaint about this film is that it is kind of formulaic, because it’s a lot of a bigger budget, and you can already tell what’s going to happen. Don’t get me wrong, there were plenty of moments where I was on the edge of my seat, much thanks to Ben, but then there were also other parts, where I knew what was going to happen, mainly because I have seen plenty of heist films, and usually they are always the same thing.
I liked how the characters were all so realistic, and basically three-dimensional, so you actually did care for these people. Ben Affleck comes together as an actor with this film, as he gives off a lot of emotional scenes, because his character is stuck between his friends, and his girlfriend, which creates a lot of stress for his character, and you can tell by his performance. Jeremy Renner is perfectly cast here as the bad-ass, gun-slinging, punk. But he plays it so well here, he doesn’t over-act it, and when he’s on screen, you just feel uneasy, because you never know what he’s going to do next. I hope by awards time, I see him again on that ballot. Rebecca Hall is a very sweet character, that we do like when we first meet here, and through plenty of poignant scenes with her and Affleck, we care for her, and their relationship. Jon Hamm does well here, playing the main cop, that does whatever he can to catch these guys, and I don’t know if Affleck meant for us to dislike him or not, but I sort of did, but that’s not really a bad thing, it made his character more watchable. Blake Lively is also in this playing a trashy, disgusting looking whore, and does a pretty good job at it too, and I actually may start to take her more seriously as an actress now. Chris Cooper is only in one scene, but he does such a good job, and it reminds me as to why he did win that Oscar so long ago. Pete Postlethwaite has good scenes here, showing his character in a lot more menacing way than I was actually expecting. Very good ensemble, that all know how to act out their own respective characters.
Consensus: Directed with plenty of suspense, and thrills, to keep you on the edge of your seat, and excited, as well as provide a great character story, that has even better actors attached.