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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Chris Chalk

Being Flynn (2012)

Happy that my dad has a roof over his head and isn’t a complete dick.

Aspiring writer Nick Flynn (Paul Dano) begins working at a homeless shelter and develops a drug problem he struggles to control. His father, Jonathan (Robert De Niro), is a con man who was never there for him as a child and still considers himself to be one of the greatest, living writers of all-time, despite never being published. Jonathan actually stumbles upon Nick one day at the homeless shelter and is need of a place to stay. But, as predicted, Jonathan finds problems with just about everything around him.

The problem with Being Flynn, right away, is that its whole idea of a joke is to have its character, Jonathan Flynn, narrate some of the movie and talk like he’s the greatest novelist of all-time and is a walking genius, even though nobody knows it. Problem is, he doesn’t know it. That idea of a joke can be a little humorous at times (because let’s face it, who doesn’t love to crack a couple of chuckles at older, Alzheimer-bound men), but it gets annoying and repetitive, as if the movie didn’t realize the butt of its own end joke was meant for the character, and not for the freakin’ movie itself.

But this turns out to be the whole movie. Just one long joke that nobody ever seems to get the hang of telling better.

Shirt by any chance? No? Nope, that's okay. Whatever suits you best.

Shirt by any chance? No? Nope, that’s okay. Whatever suits you best.

And this is a shame because the material for Being Flynn seems as if it has more to it than just being “a joke”. But what ultimately happens is that it just lingers and gives this Jonathan character another reason to yell, scream, and scam his way some more into people’s lives. I never, not for once, felt any ounce of sympathy for these characters and even when it seemed like they were going through problems as people of society, and of people going through age, I still never bought them.

There were some elements I did buy, like the fact that Nick does go down a bit of a rocky road with drugs and needs to change his life around to be a better person. But that’s about it. Other than all of Nick’s problems that could have pretty much been centered-down to, “Yeah, my dad left me when I was a baby, my mom raised me, slept with a bunch of dudes, and killed herself”, Jonathan’s problems seem to be a bit more scary in the way that the guy is homeless, the guy is out in the cold, and the guy is a bit of an over-zealous dick. That fear of him dying never hit me hard enough, just because he’s a, well, a dick.

As plain and simple as that.

I think I’ve exhausted everything there is to say about the character of Jonathan Flynn, but honestly, it deserves to be said because there’s not much more to this movie than him. Which is annoying because Paul Weitz can’t help but be utterly pleased to have him being a miserable and unlikable hack that doesn’t do anything else in his life other than bullshit his way past things with that signature De Niro smile, chuckle, and charm. And heck, thanks to De Niro, it almost works!

And De Niro is fine here, but he’s saddled with a character who is just too unpleasant to give a hoot about. That’s why it was nice to see Dano at least try with the likes of Nick, another unlikable and whiny character. Dano is known for his “big” performances, but here, he dials things down for us so that we get to see Nick as more of a sad, self-destructive human being, rather than somebody who is cool because he lives life like its constant party. In a way, he’s sort of a tool, but the movie never fully digs deep into that aspect of his character; it’s just left up to Dano to pick up the pieces and work from there.

She's like a dude, but she's not. So rad, man.

Short hair, don’t care.

This is a shame, too, because Dano and De Niro, together, playing a son-father duo, seems like it would be ripe with all sorts of powerful and raw emotion. And though Dano may have been more than happy to share the screen with De Niro, Weitz’s direction and script gets in the way too much. Somebody has to learn something, somebody has to grow up, and somebody has to bond. If it’s these two, then so be it.

This is all to say that, even though they’re both solid actresses in their own rights, Julianne Moore and Olivia Thirlby aren’t used as much as they could have been to help even this movie and its melodramatic self out. Moore is mostly designated to flashback scenes, whereas Thirlby’s character has to do a little bit of heavy-lifting, both literally and figuratively, as Nick’s gal-pal. But still, her character is then soon treated as being a female love-interest for Nick to hook up with, screw around on, break up with, try to get back together with, and eventually, have all of his dreams come true because he’s, well, “a better person now than he was before”.

Bunch of BS if I ever heard it!

Consensus: Though it has a solid cast and, on occasion, director, Being Flynn falls apart because it’s not only a bit too melodramatic for its own good, but conventional, self-serving, and too smart for its own good.

3 / 10

Staring at your child in admiration: such a mother's thing to do.

Staring at your child in admiration – whatta mother!

Photo’s Credit to: Thecia.Com.Au

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Lila & Eve (2015)

Mother knows best.

Lila (Viola Davis) is a single mother living in Atlanta with her two boys. One of whom, is tragically killed in what seems to be a random hit-and-run. Lila doesn’t know how to handle this sort of grief, so she just sits in her bedroom all day and night, sobbing, and trying to figure out just where her son’s case is going to end up next. Though the police promise Lila that there are being some moves made in finding out who killed her son, she’s still skeptical. However, where Lila gets the most comfort in is going to weekly meetings she has with mothers who have also had to deal with their own children being taken away from them too soon. There, Lila meets Eve (Jennifer Lopez), a fellow woman whose daughter died recently and doesn’t seem too intent on speaking to anyone – except for Lila that is. Eventually, the two strike up something of a relationship that finds themselves having fun together and making the best of their incredibly crappy situations. On one fateful night though, when Lila and Eve are around the house, they stumble upon a gun, which leads them to think of what they should do with it. Store it for later? Or take it out and get some full-fledged revenge, baby?

Yeah, total scum. Why on Earth would I want to be with that for the night....

Yeah, total scum. Why on Earth would I want to be with that for the night….

Sadly, Lila & Eve decides to go with the latter, which isn’t even getting to the root of the movie’s problems. However, while we’re talking about it, we might as well discuss the stance this movie takes on vigilante violence/revenge; while it doesn’t seem to necessarily telling you to step out on the streets now and look to blow some peeps up because they pissed you off in some way, the movie isn’t really taking all of the negative after-effects that can happen, too. For instance, Lila hardly ever takes into account that the people she may be killing, aren’t just somebody else’s sons, just like her late one, but also somebody else’s brother, or nephew, or whatever. Either way, the people that they kill are all somebody’s loved ones, which wouldn’t have been so put-upon, had Lila and Eve not gone to one of their funerals.

It’s actually quite morbid really, and it made me wonder just where the hell this movie’s heart actually was. With the heart and the humanity? Or with the thrill of seeing some criminals get shot in total and complete cold blood? It’s more of the latter in this movie’s case, however, it does so often make an attempt at being a lot deeper and heartfelt than it actually is – a stumbling mistake that they should have given up with right away.

But don’t worry, it gets worse because the movie then throws a bunch of twists and turns at the fences by the end, just to make sure that they’ve shaken things up anyway that it can. Problem is, the twists are so very obvious and feel as if they’re hitting Nicholas Sparks material. The twists don’t add much to the story, nor the point it’s trying to make about moving on in life and depressing, but the way the ones behind this see it, that’s all fine.

It isn’t and it’s a shame.

In fact, a damn shame because, yes, Viola Davis is actually in the leading role as Lila. And you know what? Believe it or not, Viola Davis is actually pretty good here! Surprising right? No. But what is surprising is that she even decided to bother with crap of this magnitude.

Oh no, Shea Whigham! Leave while you still can.

Oh no, Shea Whigham! Leave while you still can.

As Lila, Davis tries to dig as deep and as far as she can to reach the inner-core of this character, make us feel her pain and understand exactly what it is that she’s going through. At some points, it does work, which is probably only because she seems to be trying, but the script lets her and her talents down a little too much. Though you’d believe Davis as something of a bad-ass killer, the later-half of this movie that portrays her as being as such, doesn’t quite register. None of that has to do with Davis, though – her character is just written in such a way that she’s supposed to be as generic as humanly possible. Davis may try to shake things up every so often, but sadly, it doesn’t always work.

Same goes for Jennifer Lopez, who, I’m afraid to say, isn’t really that good here. Sure, you can definitely blame that on the crappy writing and even more crappy character she has to play with, but there’s also a weird feeling surrounding the way she portrays this character. She’s supposed to be trashy with her slang and general love of cigarettes? But it’s really hard to buy, or take seriously because it’s, well, hello, Jennifer freakin’ Lopez.

Girl hasn’t missed a booty work-out a day in her life, how the hell is she supposed to look like some low-level, dirty and beaten-up call girl?

If anything during the viewing of Lila & Eve to worth remembering at all, is that this is the second time Lopez and Davis are together in a movie since Out of Sight. Not only is that movie great in and of itself, but it also offers up Lopez’s best performance to-date. Davis is in it for only a short while, but trust me, her presence is felt throughout. So basically, what I’m saying is that, above everything else, just watch Out of Sight and keep it like that.

Consensus: Though Davis clearly seems to be trying her hardest, Lila & Eve turns into a joke of a movie that can only be associated with Lifetime.

3 / 10

"Hey, wanna go kill people."

“Hey, wanna go kill people.”

Photos Courtesy of: Indiewire

12 Years a Slave (2013)

I thought all slaves walk around to the sounds of James Brown and Rick Ross.

This the true story of one Solomon Northup (Chiwetel Ejiofor), a free black man who, in 1853, was expecting to be in business with two circus men (Taran Killam and Scoot McNairy) looking to make a quick buck with the very talented violinist, but instead, found himself to be drugged, kidnapped and sold into slavery, all within a 24-hour time-frame. As soon as he’s shipped off to the South, he meets and interacts with fellow other slaves, as well as other slave owners that range from sympathetic (Benedict Cumberthatch), to downright despicable (Michael Fassbender). But through this all, Solomon realizes that he can’t continue to plead that he’s a free man who can read, write and work as well as any other white folk can, and just has to accept the reality that this is his life from now on and he must face it head-on. A sad reality, but a reality for many African-Americans (and whites as well) out in the South during this time.

Hard to believe that even after all of these years of coming very close to hitting the nail on the head of the slice of history that was slavery, it took a Brit director in the form of Steve McQueen to give us the most definitive, honest, painful and realistic look at it, and then some. We all know that there’s been some hype and some buzz surrounding this movie for quite some time, and while it may have taken me longer than expected to actually get out there to my local indie theater and give it a go, I’m glad I did because this is one of those flicks that many people will be paying attention to for awhile. Not just at the end of this year when Oscar talk is running rampant, but for many, many years to come, as it presents us with a view of slavery that has never been as grueling or as painful as this is.

"You're pretty much my best buddy. Just don't tell anyone. EVER!!"

“You’re pretty much my best buddy. Just don’t tell anyone. EVER!!”

And yet, all of that importance still doesn’t make it the best movie of the year, heck, maybe not even Top 10.

I know, I know, I know. The pitchforks are already seized and the torches have been lit, but please, I urge you to bear with me and see if we can maybe come to an understanding. And if not, I don’t care. I’m a movie critic, dammit! I got opinions, regardless of popular-belief!

The aspect in which I must give this movie credit for, is mainly in the way that it does not back-down a bit from what it wants to show us. Most of that credit does deserve to go to McQueen, as he has proved that, time and time again, he is one of the masters at giving us a downright nasty piece of subject-matter, throwing it out there on screen and allowing us to just watch as it all plays out in front of our eyes, while also having us come to our own conclusions about what he’s showing as well. I respect this decision, not just here, but with his other two flicks (Hunger and Shame) as it shown him as the type of director we all have to look out for as he might be changing the ways movies are made and looked at in today’s world. I know that’s one huge leap I’m taking, but it’s one that I feel confident supporting as the guy really seems like he hit his stride here. And then some…

See, the real reason why this movie works as well as it does is because it gives us the story of slavery that we all think we know by heart by now, and yet, shows us that we still don’t know all that much about it, nor do we actually even realize the REAL harshness behind it. We see Solomon go through all sorts of travesties in his time as a slave: People suddenly get killed, raped, sold, left-for-dead, or are simply never heard from again. But the saddest reality of all that this movie brings up more than a few times is the fact that, for these slaves, it didn’t matter if they lived, died, or how many times they were constantly being sold-off and moved around; because nobody knew about them, nor even cared. Most of these people were already born into slavery as it was, so they already knew that they had no lives outside of picking cotton to live, but even for the ones who were free and then eventually sold into slavery, they still had no certain level of existence in their loved ones’ minds.

These types of slaves couldn’t write to their loved ones, let them know where they were and how they could free them, because usually, it was too much of a risk to take in the first place. Not just by being caught actually trying to transport a letter from Point-A-to-Point-B, but letting your owner know that you are in fact a free man or women,who can read, write and do all sorts of other things that a typical slave doesn’t have the ability to do. That realization could have you either killed, sheltered away from the rest of the public till the end of your days, or threatened to keep your mouth shut and realize that it doesn’t matter what you can or cannot do; you are a slave, and you must work, work, work, and work. And when you can’t work no more, you’re dead.

End. Of. Story.

But see, that’s the strangest idea about this movie, as well as our society itself: We already know this harsh reality, and yet, we still can’t seem to get our heads around the fact that this was America at one point in time. All of these brutal feelings, thoughts, ideas and standards we set for the rest of our society were felt during that time-period, but are still ever so present in today’s day and age, that a movie like this must be seen to inform others about what happened back in those days, and how we’re still getting over it all. Because honestly, let’s face it, nobody will ever be able to live slavery down: Whites, blacks, Jews, Chinese, etc. None of them will be able to live it down, and that’s a mind-set that will probably be forever tattooed in our minds. The fact that slavery, although being abolished for more than 140 years now, will still never, ever go away. Will we ever move on as a society, or we will just continue to remind ourselves of what our nation used to be like?

Questions, questions, questions.

As you can tell, this movie definitely gave me plenty to think about, mainly important stuff, but while all of those ideas ran around in my mind, I still couldn’t wrap my head around the fact that despite it being an unflinching, powerful and important look at slavery, there was something holding me back from thinking it was the end-all, be-all masterpiece of the year. While the true story of Solomon Northup is one that should never go unnoticed, the framing of the story itself just felt too normal to me, as if everything we were seeing, all happened in a sequence, without much rhythm or rhyme. I get that this is most likely how Northup experienced most of these events, but for a movie, it just makes it seem less like a story being told to us, and more like a series of things that are happening. For instance, we get to see Solomon get sold-off to a couple slavers throughout his life-span which, rather than making you feel awfully terrible about the type of predicament he’s in, comes off more episodic, as if it’s a new chapter in the life of Solomon Northup, or how it probably read on paper.

He's also a producer on this. Wonder if he's got a big, rather important role?

He’s also a producer on this. Wonder if he’s got a big, rather important role?

The problem I had with this movie wasn’t that it was told to me in a way that easily understandable and comprehensive so that I understood all that McQueen was doing, at any given moment, it was just that there never really felt like much of an emotional-connection here that would have had me running along with Solomon and everybody else around him for as long as they wanted me to. Granted, I did tear-up a couple of times to the point of where I needed a clean wipe-down, but that was mainly because I was reaching for something to cry about. The movie that McQueen was giving me, wasn’t the nearest thing to “sentimental”, and while I give him credit for not soaping this story up to where it could have been laughable, a hint, or hell, even a smudge of sappiness would have really put me over the edge to where I felt like this movie was the emotional-experience of a lifetime. Instead, I just felt like it was a series of bad things, happening to good people, from bad people, and that was about it.

Oh, and slavery was bad, too. Mustn’t forget about that fact.

That’s why, even though many will disagree with me, this flick feels like it delivers on what it sets out to do, and yet, could have gone deeper and even further into it’s subject story, by creating emotions and feelings. But McQueen doesn’t roll that way, and although I respect his decision to keep it so, I still feel like it would have done him a great deal of good if he had decided to throw something in there for good effect. Maybe a couple more crying-sessions? Or character-development? Maybe? I’m just a dude with a blog, what do I know?!?!

What I do know though, is a great performance when I see one, and there is an exceptional one given by the always-excellent Chiwetel Ejiofor as none other than Mr. Solomon Northup himself. Ejiofor is one of these actors in which, it doesn’t matter how many great pieces of work he does in a year or throughout a whole career, he still will never be a household name. Which is a damn shame because the dude is so freakin’ talented, and has been showing this talent for years-on-end. I think now may be that time where it all changes, and he finally gets the credit he deserves. Now, I am not saying that he’ll win the Oscar this year, however, he will definitely be nominated and a sure-pick because of just what he goes through here.

Every emotion that that Northup feels, every thought that crosses his mind and every pain-staking reality that he is coming to terms with, Ejiofor channels in the most perfect ways. He’s very subtle with his emotions, but when he has to do let loose every once and awhile, you really feel the man’s strife for freedom and getting back to those that he loves the most: His family. You already feel bad for Northup in the beginning, considering that he’s practically tricked into slavery in the harshest way imaginable, but once things get going and he has to make decisions that will alter the rest of his future on Earth, then you realize that this is a human-being, no matter how many slavers around him try to prove to him otherwise. Some decisions he makes for the betterment of those around him, but sometimes, he makes decisions for the betterment of himself and to save his own ass. While any other movie based on this same story would have probably shown him as being a bit of a selfish guy, McQueen shows him with a moral compass in hand, making us realize that he’s just trying to survive, by any means necessary. He knows what’s right and what’s wrong, and the lines rarely ever get blurred. It’s only when others get in the way, is when they do, and Ejiofor shows this inner-conflict wonderfully, giving himself one of his best performances ever.

And trust me, that’s saying a lot. Don’t believe me? Just check out anything the cat’s ever done in his huge body-of-work. Trust me, you’ll be shocked to see what he was in. Minus this one. Yeah, on the second thought, don’t even bother with that one.

"Wanna go kill something? ANYTHING!?!??"

“Wanna go kill something? ANYTHING!?!??”

But while this is easily Ejifor’s show, he doesn’t necessarily steal it away from everybody else in this heavily-stacked cast. Which was a nice act on his part, considering that everybody you see in this movie, speaking-role or not, is a face that you’re at least familiar with. Actually, let me just get right off of a face that you’re not familiar with, as she is easily the most compelling character you’re going to get in this whole movie that isn’t Northup himself: Lupita Nyong’o as Patsey. If you don’t know that name, don’t worry, you’re not alone. Neither does anybody else, but after this movie, I think you’ll be hard-pressed to forget it as she is amazing in every scene she has as the slave that Northup sticks with the most, and easily runs into the most problems with. Early on, it’s shown that Patsey starts a relationship with a slaver, that is less about rape, than it’s more about her trying to pleasure him and stay alive for as long as she can. While this act may be deemed “dehumanizing” in most eyes, it seems like the only act that she has left to live by, therefore, is giving it all she’s got with every hump she takes. Nyong’o’s eyes are expressive and convey an emotion everytime she shows up on screen, so definitely expect a nomination for her come Oscar-time.

Another person that you may also expect to be hearing whose name pop-up a lot is Michael Fassbender, playing that said philandering-slaver, Edwin Epps. Fassbender’s character is one demented soul; the type of guy you wouldn’t want to be around when he took one too many shots, nor would you want to be owned by him neither. Basically, Fassbender goes crazy in all of the right ways that gives you the idea that this guy is a twisted person you do not want to get on the wrong side with, nor do you actually want to be around. You just want to do the work he’s demanded you to do, no “ifs”, “ands”, or biggity “buts” about it. However, there is some semblance of a soul deep inside of this man’s crazy well-being, and Fassbender allows that play out very rarely, but still in a believable way to where he isn’t so over-the-top, he’s downright laughable. Same can be said for Sarah Paulson, who plays his wife, Mary, in a very chilling, yet understated performance that tells us a lot about this character, without telling us much at all. She’s just that damn good of an actress, one that I wish got more notice.

Others in this movie that are pretty damn hard to watch, mostly by of how despicable and unlikable they are, are performers such as Paul Dano as a worker that feuds with Northup many times, Paul Giamatti as an owner whose trying to make a quick buck as a business salesman who specializes in human-lives, Garret Dillahunt as a rare-case of being known as a white slave, among many of the black faces, but still can’t be trusted, Alfre Woodard as mistress that takes pride in the fact that she bangs her owner and gets treated like a white woman and especially Benedict Cumberthatch who plays one of the first slave owners Northup deals with, and is more sympathetic than the others out there, because even though he realizes is bad, he still does nothing about it. Instead, he just continues on with his business, selling away more and more humans lives, like many others were doing at that same point in time; the same point in time we will never soon forget.

Consensus: Most definitely going to be the one film you must see before the year ends, 12 Years a Slave is a harrowing, uncomfortable, somber and disturbing look inside the life of one man who had a journey much like many others during this time-frame, and yet, still never gave up hope and did all he could do to survive at any costs.

8.5 / 10 = Matinee!!

Yep, even he's ready for what's to come by the end of the year.

Yep, even he’s ready for what’s to come by the end of the year.

Photo’s Credit to: IMDBColliderJobloComingSoon.net