Dan the Man's Movie Reviews

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Tag Archives: Tom Kemp

Café Society (2016)

Hollywood was so much better when people drank all the time.

Bobby (Jesse Eisenberg) is a Jew living in New York during the 30’s. He’s not very inspired with his life there and even if he can join his brother (Corey Stoll)’s line of business, he opts not to, in hopes that he’ll make it big in Hollywood once he gets there and hooks up with rich and successful uncle Phill (Steve Carell). While it takes awhile for Bobby and Phill to eventually meet, when the two do get together, Bobby gets a chance to meet the nice, lovey and sweet Vonnie (Kristen Stewart) – a gal Bobby becomes smitten with right away. After all, she’s the opposite of everything Hollywood stands for – she’s pure, original and not at all expecting to be rich, famous, or on the silver-screen. The two end-up hitting it off, even if Vonnie has a boyfriend already, which makes Bobby try even harder for her heart. Little does Bobby know, however, that Vonnie isn’t just going out with anyone in particular – she’s going out with someone very near and dear to Bobby. Someone that will change Bobby’s life and aspirations altogether.

Blake knows beauty.

Blake knows beauty.

Another year and guess what? Another mediocre Woody Allen movie. That seems to be the general theme with Woody’s past few movies over the last couple of years; while none of them have ever been “awful”, the haven’t been as nearly “outstanding” as we’re sometimes used to expecting from Woody. Gone are the days of Annie Hall, Manhattan, and Hannah and her Sisters – now, we have to get used to more Woody Allen movies like Café Society.

Which, in all honesty, isn’t such a terrible thing, because the movie is actually quite nice.

This isn’t to say that it’s “great” by any means, but what Café Society does, and does well, mind you, is give us that sense of old-Hollywood nostalgia that, yes, can be a tad bit corny, but also feels genuine and allows you to feel closer to these characters and these settings. Of course, old-timey Hollywood is no new territory for Woody to explore, but he gets a lot of mileage of this time and place, showing us how most of the people back in the day who came to Hollywood, all expected to fame and fortune right off the bat – like the sort of place where dreams are made of.

And yes, I know that Woody has already covered this sort of ground in his movies before, but it still sort of works. There’s a certain balance that he’s able to find between “nostalgia” and “corniness” that’s surprising; we’d all assume for Woody to lose his touch and just start making more and more annoying mistakes, but nope, he surprisingly knows what can work for the audience, and how much mileage you can get out of a conventional story, so long as you inject with some humor, heart and most of all, interesting characters.

Though Café Society may not have the most illusive and spell-binding characters to date, what helps most of them is that the actors in the roles are good enough that they make them more compelling than they actually have any right to be.

Case in point: Jesse Eisenberg. As a Woody Allen surrogate this time around, Eisenberg gets a few things right – he knows how to be neurotic without over-doing it, and he knows how to deliver a lot of Woody’s tongue-twisters that aren’t at all genuine, but are still sometimes entertaining to hear. But then, halfway around the midpoint, Eisenberg’s character and performance changes, to where he’s more grown-up, angrier and, well, more adult. It’s a hard transition to pull off in a Woody Allen movie, but Eisenberg does well with it, as he shows that he’s able to get as much out of this thinly-written character as he can.

That comb-over, though.

That comb-over, though.

Kristen Stewart’s pretty good, too, as Vonnie; for the third time, her and Eisenberg are together on-screen and they make it work. There’s a genuine chemistry between the two and you can tell that they help the other when push comes to shove. Though Bruce Willis was initially cast in the role, Steve Carell works just fine as Phill, a mean, sometimes conniving Hollywood agent. Sometimes, he can occasionally sound a little too modern, given the time and place of the story, but because Carell’s comedic-timing is impeccable, it still works.

And the rest of the cast is quite solid, too. That’s something that Woody has never lost his knack for, thankfully. However, if there is an issue with Café Society is that, yes, it does unfortuntaely feel like a whole bunch of previous ideas and themes that Woody has worked with in the past, cobbled-up together to make something that’s a lot like his other films and is sort of made-up as it goes along. In a way, you almost get the sense that Woody had some sort of idea to start with, got enough money and star-power to film it all, and just filled in the blanks once the last-act came around.

There’s no problem with that, but sometimes, a story needs to be mapped-out a whole lot better and not just feel like another wasteful opportunity for someone to make a movie for no reason.

Consensus: Light, funny, well-acted, and surprisingly heartfelt, Café Society hits a sweeter spot in the Woody Allen catalog that may not light the world on fire, but still works and shows that he’s got the goods.

6.5 / 10

Jesse and K-Stew should just get married already! They're damn-near inseparable!

Jesse and K-Stew should just get married already! They’re damn-near inseparable!

Photos Courtesy of: Indiewire

Demolition (2016)

DemolitionposterSometimes, you literally just have to destroy your life.

After the tragic death of his wife, Davis Mitchell (Jake Gyllenhaal) shuts down. Everything in his life has been so calculated and planned for so long – from the time he wakes up, to who he talks to on the train, etc. – that when it seems like he has nothing holding him back or together, he just loses all control. He starts slacking off at work, stops shaving, begins saying inappropriate things in public situations, working for free at construction sites, and seems to be channeling all of his sadness and insecurity through countless letters he sends to a local vending-machine company. Why? Well because, when his wife is in the hospital, he tried to get a pack of M&M’s and it didn’t budge. Regardless, an employee at the vending-machine company, Karen (Naomi Watts), finds these letters touching, which leads her to reaching out to Davis. Even though they’re both a bit awkward with one another at first, eventually, the two start to hit it off, with Davis hanging around the house more often, getting to know Karen’s son (Judah Lewis) who’s going through his own identity crisis of sorts. Together, the two figure out life and where to go next.

Jake is sad.

Jake is sad.

As with mostly every movie, there’s three-acts in Demolition; two are pretty good, but one is quite awfully terrible. The first and last act both work well, balancing a fine line between comedy and tragedy that never plays one hand too much, nor does it seem to overstay its welcome. There’s actual sadness to the drama and a heart to the comedy, as dark as it may sometimes get.

But in between the first and last act is the middle, and man oh man, it’s pretty crummy.

No matter how hard I get on Demolition, there’s no denying that Jake Gyllenhaal is great throughout it all. Over the past few years, we’ve really seen Gyllenhaal come into his element as one of our more solidly interesting actors who isn’t afraid to screw around with his image, just for the sake of taking on a role that challenges him to go deeper and further than ever before. Here, as Davis, Gyllenhaal doesn’t really stretch his wings nearly as much as he’s done in say something, like, Prisoners, or most especially, Nightcrawler, but he still does an effective job. Because Davis is, essentially, sleepwalking through his life when we first meet him, the transformation he goes through and makes from being a sad, relatively repressed person, to letting loose, having fun and acting wild, is believable, if only because of Gyllenhaal’s talents as an actor. We shouldn’t totally care for Davis, but because Gyllenhaal gives us an actual, bleeding heart to the character, we feel a lot closer to him and understand the pain and sadness he’s feeling.

But sadly, the movie isn’t always up to Gyllenhaal’s talents. For example, it has a very odd tone that doesn’t always know what it wants to be, do, or say. At first, what Demolition seems to be is a tragic-comedy that deals with certain serious issues like death and depression, but also wants to look at them with a witty eye. At first, the mix and mash between humor, heart and sadness, actually works; the jokes poke fun at the idea of being sad, while also not insulting the characters all that much to where it feels or seems inappropriate. There’s a fine line that’s tread here in Demolition, and director Jean-Marc Vallée, for awhile at least, doesn’t overstep.

Until, of course, he does.

What happens in the middle-act is that the movie gets rid of its serious and sometimes depressing tone, and instead, just totally go for the comedy. This can sometimes be fine, as ling as your comedy is funny, effective, relatable, and most importantly, not annoying. Issue is, the comedy in Demolition, without any sort of dramatic or serious context, can be unfunny, ineffective, unrelatable, and incredibly annoying.

Obviously, this is a problem for the characters, as well as the plot. Gyllenhaal’s Davis begins to act out so erratically, whether he’s dancing through the busy streets of New York City, or getting nails stuck in his foot without getting tetanus shots, which are all played up for har-har laughs, that you never for a second believe it. Sure, the character is sad and needs some sort of release to get his spirit out, but there comes a point when you overdo it and you’re just trying to make as many laughs as you can happen, without ever retaining any of your original sense of heart or drama.

But the movie introduces Naomi Watts’ and Judah Lewis’ characters and, yes, it gets a tad bit worse. Watts’ character almost doesn’t matter in the grand scheme of things and because her chemistry with Gyllenhaal is so weak, it sort of feels like she doesn’t even need to be here. Granted, it’s nice to see Watts play with a lighter, more fun role for a change, but her character is so ham-fisted into the plot that she almost doesn’t feel like a real person, despite saying that she’s sad and heartbroken just like Gyllenhaal’s Davis.

Naomi is happy.

Naomi is happy.

And Judah Lewis’ character, despite seeming very well-intentioned, does not work in this movie.

Nothing against Lewis, or his acting abilities, but the character is the typical, conventional angsty teen who is having a bit of an identity crisis, clearly has daddy issues, curses a lot, thinks he’s a lot smarter than he actually is, and doesn’t always know how to handle his emotions. While the scenes between him and Gyllenhaal are supposed to be sweet and endearing, they somehow feel oddly off, where it seems like every scene could lead to Lewis’ character either trying to kiss, or kill Gyllenhaal’s. It even gets to a point where the characters go out into the middle of the woods to shoot a pistol and I couldn’t help but think someone was going to take a dirt nap by the end of the scene.

But thankfully, as bad as it gets, eventually, the movie does pick itself back up in the last act, ending on a sweet, somewhat heartfelt note. The comedy starts to fall back a bit more, the heart starts to get bigger, and the acting gets toned down a tad bit. Oh, and Chris Cooper starts to show up more and remind us why he’s everyone’s favorite father-figure. If anything, Demolition feels like the kind of movie that doesn’t know what it wants to be, but at the end of the day, still has enough to say to where it works.

Just not nearly as much as it should have.

Consensus: An odd, mostly uneven tone and weak middle-act keep Demolition from really hitting as hard as it wants to, even if the cast does try and there are some small moments of pure joy and sweetness.

5.5 / 10

But Jake is still sad, and with a saw. So look out!

But Jake is still sad, and with a saw. So look out!

Photos Courtesy of: Indiewire

Irrational Man (2015)

If you’re depressed, sometimes, all you need is a little crime.

Philosophy professor Abe Lucas (Joaquin Phoenix) isn’t exactly in the right place of his career, or his life currently. For one, he’s just taken up a new teaching job at a Rhode Island college, Braylin, for summer courses and he’s always bored. He’s also going through something of an existential crisis where he contemplates suicide daily and can’t seem to maintain an erection, even when he’s with the lovely and super horny Rita (Parker Posey). And now, to make matters worse, he’s starting to find himself fall head-over-heels for a student of his, Jill Pollard (Emma Stone), who feels strongly about him too, even though she’s already gotten a boyfriend (Jamie Blackley). Though Abe doesn’t want to have any sort of romantic relationship with Jill because it would be inappropriate and unprofessional of him, he still can’t seem to hold back on his affections. So basically, Abe is not feeling too happy about his life right now and needs something to wake him up from this metaphorical slumber and put him back on-track. What will wake him up, though? Or better yet, will it even be legal?

It’s hard to talk about a movie like Irrational Man, because from what I know, not many people know about the twist that occurs about half-way through. Even though it was definitely hinted at in the months of pre-production and filming, many people I have spoken to, or at least have read reviews of, claim to have not known anything of the twist. Honestly, that surprises me a bit, but because I am a nice, kind, and generous human being, I will decide to hold back on spoiling anything related to the twist.

To be with Stone....

To be with Stone….

Which is a shame, because it surely makes this movie a lot harder to review now.

But what I will say about Irrational Man, in relation to that twist, is that when it comes around and shakes things up, Woody Allen’s writing gets a whole lot sharper. What’s interesting about a lot of Woody Allen’s movies is that they’re very hard to classify as “dramas” or “comedies”. He’s definitely had many that are either the latter, or a combination of both, but he doesn’t quite do the former nearly as much as he should. Even though Cassandra’s Dream was a bust, Match Point and Crimes and Misdemeanors forever rank as two of his better movies because they show Woody Allen in a different light than ever before. Sure, he may be able to deliver on the funny when need be, but when he wants to deliver a dark, sad and sometimes harrowing story, he can still hang with the best of them, even if there is a small wink at the audience every now and then.

And with Irrational Man, it seems as if he’s definitely come back to being slap dab in the middle of being a comedy, but with many, many dramatic undertones. Sometimes, that can cause a bit of a problem with this movie as it’s never full-known whether Allen himself is intentionally trying to make a drama, or if a lot of his dialogue just comes off in an incredibly stilted way, that it seems like comedy, but either way, there’s something more interesting here to watch than there is in say, something like To Rome With Love. Even if the bar isn’t set very high with that one, it’s still worth pointing out as a lot of Allen’s recent movies are very hit-or-miss nowadays.

Still though, there’s a lot to like here.

With Allen soon approaching 80, it’s not as if he really has anything new or interesting to say about life, love, relationships, poetry, literature, or anything else that’s discussed in his sorts movies, but there’s still something entertaining about the way in how these characters talk to one another. While the philosophical squabbles don’t really go anywhere, it’s interesting to see the likes of Joaquin Phoenix and Emma Stone deliver them to one another; the dialogue may not be as sharp as a tack, but it’s something different than what we’ve seen from these two before and it offers some entertainment just based solely on that level. There are bits that are funny, as well as there are ones that are just plain dramatic, but no matter what, it’s neat to see how Allen, no matter what number movie he’s on, seems to get certain stars to deliver his dialogue to the best of his ability.

Or, to be with Posey?

….0r, to be with Posey?

And with that said, Phoenix himself is pretty good here in a lighter role than from what we’re used to seeing from him. Phoenix doesn’t too often get to do comedy nowadays, and while he isn’t exactly supposed to be the most hilarious guy in the room here, there’s still some shadings of slight humor to be found if you look closely and deep into the cracks of this character and this performance. At the same time though, there’s still a lot going on with this character that’s a tad unsettling, and it just goes to show you the kind of talent that Phoenix is, to where he’s able to make you laugh along with him, as well as be disgusted by him as well.

The perfect antihero if there ever was one; something that Allen doesn’t write much of anymore.

Stone is quite good here, too, and gets to show that she’s a bit better at handling Allen’s dialogue than she was able to do in Magic in the Moonlight. The only problem that there is to be found with this character is that, sometime by the end, she goes through a change that makes her go from this lovable, doe-eyed and naive schoolgirl, to this Nancy Drew-like character who picks up on all sorts of clues that are miraculously dropped in her way. Once again, I’m being as vague about this fact as humanly possible, but it is something that didn’t seem too believable to me, even if Stone does try her hardest to make it work.

Because no matter what, it’s hard to hate this face. Maybe this face, but not this one.

Okay, I’m done now with my crush.

Consensus: A tad darker than most of Allen’s recent outputs, Irrational Man is slightly uneven, but benefits from solid performances from the cast and a smart twist that keeps certain themes from growing old.

7.5 / 10

Think it over, Joaquin. You've got some time.

Think it over, Joaquin. You’ve got some time.

Photo’s Credit to: IMDB, AceShowbiz

Mystic River (2003)

At the end of the day, boys will be boys.

Sean Devine (Kevin Bacon), Jimmy Markum (Sean Penn), and Dave Boyle (Tim Robbins) were three childhood friends who lost touch over the years, all because of an incident that happened to one of them. All these years later, Jimmy’s daughter, Katie (Emmy Rossum), is found dead in the park, and it’s up to Sean to find out who killed her, why, who, what, where, and when, but somehow, Dave seems like the most prime-suspect out of them all. Whether or not he did it, is left up to these three to figure out.

Movies that try to deal both with a human-story and a mystery, never fully come together and seem to work all that well. However, Clint Eastwood seems like the type of dude who’s been in enough movies to realize that anytime you can add on real, honest human emotions; then anything can work. He also seems to know that if you can get an amazing cast, that is more than capable of delivering on every, single spectrum; then anything can, and most likely will, work. Clint knows the game he’s getting himself involved with and although he’s been racking it up in the age-department, the guy shows us he still knows what’s up with a good story.

What works so well with this flick is that in almost every aspect, something is always working. For starters, the mystery behind this flick is one that actually works, and one that keeps you glued to wondering just what the hell is going to be revealed, and possibly said, next. Most of these movies that try to add mystery to a human-story, never really seem to work and instead come off like a lame excuse to distract the audience who wants a fast-paced, exciting story, but this isn’t one of those flicks. We are never really told what happened to Katie in the beginning, other than the fact that she was murdered, by the park, and somebody called it in. After that, everything we hear, see, or try to grip and understand, are all news to us and it feels like we are learning everything, just as soon as each and every other character in this movie as well. Love a fine mystery-tale, especially when it’s done well and not for cheap-kicks.

Then, you get to the human-element of this whole story, which is really the anchor to it all and has everything come together like a fine string, between two Dixie cups. Every character in this movie, for no matter how long or how little you may see them pop-up on-screen, you still feel like as if you know them for all that they are, all that they were, and all that they ever will be. Sure, some are more pleasant to think about than others, but you still can’t help but be intrigued by the way that these characters interact with one another, and just how they find ways to connect around the a murder-case like this.

"Fucking Southies, man. Fucking Southies."

“Fucking Southies, man. Fucking Southies.”

The most interesting character-relationships in this movie, were definitely the three boys we see at the beginning: Sean, Jimmy, and Dave (remember those names). At the beginning, we see how they were childhood pals, until something very disturbing and dramatic happened to one of them, and separates them all, while changing the course of their lives forever and ever. After we see this change in their childhoods, we then fast-forward to them being adults, moving on with their lives, and making ends meet, but still never, ever forgetting about that fateful day that impacted all of them, not just that one person. Throughout the rest of the flick, they always go back-and-forth about that moment in their lives, and they realize that it changed who they were, forever, but never really come to terms with how or why. They know that one person was actually hurt and had to pay the piper, but in the end, they were all hurt that day and never seemed to forget about it, nor heal from that pain. It’s interesting that they all see each other in one-on-one’s, but never show up altogether. It’s as if the movie wants you to see how separated they are, not just from each other, but the rest of the world around them. Maybe that’s just a bunch of babble from yours truly, but it’s something that I felt, and something that I saw and continue to think about even while writing all of this jibber-jab.

But trust me, not everything in this movie is as clear as I may make it out to be (or not). The movie has characters that you don’t know whether or not to trust, like, dislike, or even care for, but you still remained enticed by everything that you see them as. Eastwood also has an interest in each of these character’s lives and personality-traits, and shows how each of them react to certain situations differently. Some are cool, and some are nervous bumb-fucks. Some are suave, and some jittery-jatters. Some know all the right things to say, and others do as well, they just don’t know how to say it. You see all of these characters act and respond to the same situations, the same questions, and the same happenings, but yet; they are all different in their own ways, and watching that was just about perfect. It was even better to watch, if not just for the actual characters themselves, but the performances that were there to back them up.

When you have a story that’s so rich, so deep, and so compelling as this, with characters that are on equal-measure, it’s necessary to have a cast that can handle this, and that’s exactly what all of these heavy-hitters are ready to do, and do it in style. Sort of. Back when this flick first came out, everybody ranted and raved about Sean Penn and his performance as Jimmy Markum, but it’s rants and raves that were meant to be. Not only does Penn give one of the greatest freak-outs of all-time (second to this, of course), but he also gives us a deeply-layered, and beautiful glimpse inside the world of a man that’s trying to be right, trying to be good, and trying to be well-mannered, but just can’t because of his natural-tendencies. Markum is not a nice guy and is definitely not the type of guy you’d be easy and able to trust when it came down to getting business done the right way, but he’s trying and you can see that in every single scene that Penn shows up in. Most of the time, he’s a grieving father that’s just taken down, notch-by-notch, because of the fact that his baby girl is dead, but he continues to get back up, fight, and search for the truth. The ways he goes about it, the answers that he finds, and how he responds to those said answers, are not always the most “just” ways of going about your bizz, but Penn always remains stoic, compelling, believeable, and understandable in the way he never loses hope, even if death is staring him right in the face. It’s not as corny as I may make it sound. Trust me on that.

Tim Robbins comes very close to stealing Penn’s spotlight as Dave, an old-time friend of Jimmy’s, who also just so happens to be married to his wife’s cousin. Don’t know what that would make them in terms of family, but I guess they’re related, right? Okay, whatever. Anyway, Robbins is amazing as Dave, not just because Robbins knows how to play crazy like anybody’s business, but he really plays it up without going overboard in the sense that he’s way too insane to be considered the type of guy you’d want to marry, have, and raise a family with. He seems like an honestly-nice dude, that just so happens to have a pretty fucked-up past that gets in the way of his present-day happenings. That never makes him a bad person, but just the type of person you never know whether or not to trust, and what it is about him that’s so shady. Whatever it is, that mystery and that dark-shade of him, always stays there between us and that character, and it not only works in the movie’s favor, but Robbins’ as well. Both him and Penn received Oscars for these roles, and in my opinion: were both well-deserved. Then again, I think I share that same opinion with many, many others out there in the movie-reviewing world.

Marcia Gay Harden plays Dave’s wife, Celeste, who knows about Dave and what he did the night Katie was murdered, but doesn’t know how to accept the fact that maybe her hubby was the killer out of all of this. Harden is great with this role and this character because it gives us a sense that this woman loves her husband to death, but still doesn’t know if she can trust him in all of this, and finds herself in a dilemma between choosing between love, family, or being fair. She’s always nervous, she’s always twitchy, and she’s always scared, and some may call her performance one-sided for that, but Harden handles it perfectly, and never lost my interest.

Jeez Louise. Somebody really needed an Oscar.

Jeez Louise. Somebody really wanted an Oscar.

Kevin Bacon seems like he got the shortest-stack of the bunch with a character that isn’t as interesting and sure as hell isn’t as memorable as these two, but still proves that he’s the man when it comes to owning roles like these, no matter how procedural they may be. It also doesn’t help that his character’s wife just so happened to have left him, with their baby, calls him almost all of the time, and never speaks. She just sits there, with the phone to her ear, in silence as the guy rambles on about nearly nothing. Still, Bacon is great through all of this, it’s just obvious that Eastwood wasn’t as concerned with this character as much as he was with the first two. Laurence Fishburne plays Sean’s fellow-detective who’s also investigating the case and is great with what he does, but is only there to give some slappy, side-comments and show how he isn’t as biased as Sean may be. Then again, Fishburne is always worth watching, especially in roles where he’s playing himself better than anybody else.

Even though the cast, the direction, the writing, the themes, and the mystery behind this whole movie, worked for me and had me loving just about every second of this, there is always a glaring-problem that never ceases to leave my mind when I think of this: the ending, or should I say: the final 10 minutes. Without spoiling all of the shite that goes down in the final-act, we leave with a dark, but reasonable conclusion that effs with our minds, our hearts, and our eyes, especially with everything we just saw for the past two hours. However, the movie doesn’t end there, just when it should have. Nope, instead, the movie felt the need to add on an epilogue where we not only get one, whole scene dedicated to Laura Linney’s characters, Jimmy’s wife, acting as Lady Macbeth-type character, but also feed us an ending that sort of contradicts the whole movie.

For instance, the movie plays around with the themes of people staying true their ways, their morals, and their nature, but somewhere, those themes get lost in a strange conundrum of characters not acting like themselves. It’s so hard to go into all of this without giving each and every thing away, but for the people who feel like they know what I’m talking about, you may be able to understand that some people realize some things about others, that they didn’t know before or has just become news to them, but yet, they choose to do nothing about it and go about their lives as if nothing happened. That would have been fine for one or two characters in this movie, but for the one that it does high-light, it seemed wrong, too theatrical, and a tad stupid, as if Eastwood really wanted us to feel like nobody was meant to be trusted, nor were they meant to be liked in any way, form, or shape. It’s not a happy-ending, per se, but it’s the type of ending that may piss you off because everything up until that point, was going swell, but had to end right there. Damn you, Clint. Why’d you have to go and ruin a good thing?

Consensus: The ending doesn’t make sense in the grander scheme of things, but everything else in Mystic River leading up to that, is still near-perfect with it’s powerful acting, realistic themes about life, and interesting character-traits and relationships that never always seem to add more heart and depth to this mystery, rather than just finding out who the baddie is.

8.5 / 10 = Matinee!!

Dear, I could imagine the type of conversation these two would be happening.

Dear, I could imagine the type of conversation these two would be happening.

The Company Men (2010)

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.

"They always say, "you're never as good as you're first movie". I guess in your case, that's false."

“They always say, “you’re never as good as you’re first movie”. I guess in your case, that’s false.”

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!

"I'm guessing meeting at a bar was out of the question?"

I guess meeting at a bar was out of the question?

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.

"So, you still polish your Oscar?"

“So, you still polish your statue? Yeah I’ve been doing that for 19 years.”

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”.

5/10=Rental!!

"They ain't like us."

“They ain’t like us.”

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