I've been thinking over the last several years of movies, and with the end of the decade just ahead, can you blame me for beginning to ponder over what my favorites of the last 10 years are? Surely one that keeps coming to mind is Adam McKay's The Big Short, that wildly zany comedy about the Housing Market Crash that almost revolutionized the way narrative features can be told. How excited I was for McKay's return to nonfiction. How underwhelmed I ultimately felt...
The movie is about Dick Cheney (duh), the 46th President of the United States... I mean Vice President. There's a lot of intrigue surrounding the man, his public persona, and the rumors that maybe secretly he was running the country for his 8 years in office. What kind of film is this? Well, in many regards this is a by-the-numbers biopic that charts Cheney's early years and rise to power. We've seen the structure a million times before. One moment he's in a drunken barfight in Wyoming, and the next he has a small office next to Nixon's in the White House. The film intercuts between the man as Vice President and the chronological timeline of his rise to power over the years. Christian Bale is utterly transformed. In the early scenes we can recognize the actor (albeit with a significant amount of extra pounds). By the end, I was all but convinced this was the man in the flesh.
Of course this is Adam McKay, and as dramatic as the film can be, there are moments of pure comic gold. If you've seen "The Big Short" then you remember the cutaways to Margot Robbie in a bathtub explaining what a subprime mortgage is, or Ryan Gosling breaking the fourth wall to speak directly to the camera. VICE follows a similar idea, though McKay is clearly treading further into uncharted waters. There are scenes that serve as vignettes only, such as a scene in which Cheney and his wife transform into Shakespearean characters complete with rhyme, or one of the funniest fake-out endings I've ever seen. I nearly fell out of my chair as fake credits began to roll in the middle of the movie. Wait for it. The levity comes as a stark contrast to the actual actions of the Bush White House, complete with torture, bombings, and false imprisonment of various suspected terrorists over the years.
What's there not to like, then? As the film trudges along, I felt as though the story falls into a rutt, simply showing highlights of Cheney's time in office instead of continuing the plot and following these characters. The film has a beautiful introduction (pre-credits) that set up the stakes at hand. It shows Cheney and his wife (the astounding Amy Adams) and the bargain they make to rise up through the system. In many ways the film is about Lynne Cheney, who many could argue is the ultimate protagonist of the film and the one pulling all the strings. It's a great performance by Adams, worthy of Oscar love. I only wish the back half of the film remained as interested in her character as we do at the start.
By the climax, the intro of the film is all but forgotten, and you can quite literally feel the director (and editor) running out of steam. The film doesn't end, it runs off the tracks. I don't even understand Cheney's motivations once reaching the White House. The film hypothesizes that this man is only attempting to do right by his wife, but by the end he is a ruthless near-dictator that holds absolute power. Sure there are moments of humanity (especially with his daughter), but we lose focus of what Dick Cheney ultimately becomes.
Still, I enjoyed it for what it was. At it's best, Vice can be pure cinematic magic. At worst, it feels like a pandering attempt to recapture the vivid energy of McKay's earlier works. Bale is wonderful as the titular character, yet I feel like such a subtle performance might go over the heads of Academy voters who love fat suits but also love yelling and screaming and kicking and crying. Bale is the epitome of an opening quote: "beware of the man who says little." I think this is as good of a biopic as could be made about the man, but so much feels off. Sam Rockwell's awkward bit as George W Bush feels more like a skit than a living man, and many in the supporting cast feel squished into the movie if only to say "look it's that politician I remember!" Maybe the story could have worked if it focused on only the White House years, or the War in Irwaq, or something... What we are left with is a zany movie with almost too much to say. It's relentless, and not always in the best ways.
OUR RATING SYSTEM
(*****) = do NOT miss! This one is as good as they come.
(****) = Fantastic - It's worth the price of the ticket (and then some).
(***) = Average - Nothing really bad, nothing really spectacular...
(**) = Perhaps you should find another movie to see.
(*) = The bottom of the barrel. It would be hard to find something less entertaining or more unworthy of your time.
(*****) = do NOT miss! This one is as good as they come.
(****) = Fantastic - It's worth the price of the ticket (and then some).
(***) = Average - Nothing really bad, nothing really spectacular...
(**) = Perhaps you should find another movie to see.
(*) = The bottom of the barrel. It would be hard to find something less entertaining or more unworthy of your time.
John (Jo) holds a Bachelor's Degree in Nursing, as well as a Bachelor of Arts degree in Film Studies. He currently lives in Chicago, Illinois and works as a nurse. His one true obsession in life is movies... The good, the bad, and everything in between. Other than that, he is busy caring for his cat, painting, writing, exploring Chicago, and debating on whether or not to worship Tilda Swinton as a deity. John is the master and commander and primary author of this blog.
Wednesday, December 26, 2018
Monday, December 3, 2018
Green Book (***1/2)
GREEN BOOK made a splash at the Toronto Film Festival where it won the coveted "People's Choice" Award, a prize previously awarded to Best Picture giants like "12 Years a Slave," "Slumdog Millionaire," and "La La Land" (Oh, wait...). It makes sense. "Green Book" is a crowd-pleaser in all the typical ways. Directed by Peter Farrelly, the film is another addition to the idea of race relations as viewed through a white protagonist. It's one of those movies that caters to your emotions and lets you leave the theater by thinking 'wow it's so good things have changed.' Have they really?
The movie is a true story about accomplished pianist Don Shirley (Mahershala Ali) who embarks on a tour with his 3-piece jazz band through the deep south. Shirley has rubbed elbows with the likes of Jack Kennedy and New York high society. As we learn, this journey is an attempt to connect with his roots. Logically he needs a driver, and fearing the worst he hires Tony "Lip," an Italian bouncer/driver/wannabe food critic (Viggo Mortensen). Come on, we've seen this movie before. You can imagine the dynamic: an uptight musician meets street-smart blue collar worker who also happens to be a casual racist. Through the course of their journeys, it becomes apparent that the two men have more in common than they do not.
We've seen the story before, especially that of race relations as told through a white protagonist. As far back as "In The Heat of the Night" and more recently with flicks like "The Help." I think what is more successful here is that both of our heroes go through a transformation, and it's as much about Shirley learning about his culture as it is Tony introducing him to it. As they drive, they listen to artists like Little Richard and Aretha Franklin, artists Shirley knows but has never listened to. Oh, and he's never tried fried chicken. Later in the film, Tony explains it to him in blunt terms: "It's like I'm more black than you are!" I can already head the dissenting articles come Oscar season.
As cliched as the film feels, it really finds success in the lead performances. Ali (recently an Oscar-winner for the drastically-different Moonlight) shines as an artist with much more to his being hidden under the surface. Rarely does it come to a boil, but we see his vices (drinking, isolation, etc) and we begin to understand the man. There's the briefest of scenes that indicates he is also a homosexual, but never again is this touched on or even pondered over. It's another scene in the long list of cliches that is needed to help flesh out this story. Sure, it's probably true, but the film cares less about the actual facts than hitting all the appropriate beats and in order.
Again, as much criticism as Mortensen might receive for playing a "white hero" in this film focused on black culture, I can't help but declare it to be the best male performance of the year. After gaining 50 pounds and adopting one of the most convincing Brooklyn/Italian accents I can remember, the actor who once played Aragorn is transformed in a stunning technical and comic performance. Not once did I even see the actor playing a part. Not often is such a character so vivid, but this film surely proves Viggo Mortensen as a technical master and also one of the sharpest ears for dialect. Watching him act is electric. Any scene without Mortensen simply doesn't feel like a scene.
Can you guess the ending? I was surprised to see it become a near-exact copy of "Planes, Trains, and Automobiles" by the end, complete with a race to the Christmas dinner table. On the way, the two men race north to New York through a torrent snowstorm, racing away from a south that denied Shirley the chance to dine among white patrons in a restaurant and use the indoor bathroom at a party where he is the guest of honor. You can practically hear the sighs as they pass a "Now leaving West Virginia" road sign. This is a fine movie that will hit a lot of people's buttons and will likely garner much support come Oscar season. Is this one of the top 10 movies of the year? I sincerely doubt it. When is Hollywood going to start looking past these tropes? We don't need more stories about 1960's segregation seen through rose-tinted glass. Look at a newspaper. Why ignore what's right in front of us?
The movie is a true story about accomplished pianist Don Shirley (Mahershala Ali) who embarks on a tour with his 3-piece jazz band through the deep south. Shirley has rubbed elbows with the likes of Jack Kennedy and New York high society. As we learn, this journey is an attempt to connect with his roots. Logically he needs a driver, and fearing the worst he hires Tony "Lip," an Italian bouncer/driver/wannabe food critic (Viggo Mortensen). Come on, we've seen this movie before. You can imagine the dynamic: an uptight musician meets street-smart blue collar worker who also happens to be a casual racist. Through the course of their journeys, it becomes apparent that the two men have more in common than they do not.
We've seen the story before, especially that of race relations as told through a white protagonist. As far back as "In The Heat of the Night" and more recently with flicks like "The Help." I think what is more successful here is that both of our heroes go through a transformation, and it's as much about Shirley learning about his culture as it is Tony introducing him to it. As they drive, they listen to artists like Little Richard and Aretha Franklin, artists Shirley knows but has never listened to. Oh, and he's never tried fried chicken. Later in the film, Tony explains it to him in blunt terms: "It's like I'm more black than you are!" I can already head the dissenting articles come Oscar season.
As cliched as the film feels, it really finds success in the lead performances. Ali (recently an Oscar-winner for the drastically-different Moonlight) shines as an artist with much more to his being hidden under the surface. Rarely does it come to a boil, but we see his vices (drinking, isolation, etc) and we begin to understand the man. There's the briefest of scenes that indicates he is also a homosexual, but never again is this touched on or even pondered over. It's another scene in the long list of cliches that is needed to help flesh out this story. Sure, it's probably true, but the film cares less about the actual facts than hitting all the appropriate beats and in order.
Again, as much criticism as Mortensen might receive for playing a "white hero" in this film focused on black culture, I can't help but declare it to be the best male performance of the year. After gaining 50 pounds and adopting one of the most convincing Brooklyn/Italian accents I can remember, the actor who once played Aragorn is transformed in a stunning technical and comic performance. Not once did I even see the actor playing a part. Not often is such a character so vivid, but this film surely proves Viggo Mortensen as a technical master and also one of the sharpest ears for dialect. Watching him act is electric. Any scene without Mortensen simply doesn't feel like a scene.
Can you guess the ending? I was surprised to see it become a near-exact copy of "Planes, Trains, and Automobiles" by the end, complete with a race to the Christmas dinner table. On the way, the two men race north to New York through a torrent snowstorm, racing away from a south that denied Shirley the chance to dine among white patrons in a restaurant and use the indoor bathroom at a party where he is the guest of honor. You can practically hear the sighs as they pass a "Now leaving West Virginia" road sign. This is a fine movie that will hit a lot of people's buttons and will likely garner much support come Oscar season. Is this one of the top 10 movies of the year? I sincerely doubt it. When is Hollywood going to start looking past these tropes? We don't need more stories about 1960's segregation seen through rose-tinted glass. Look at a newspaper. Why ignore what's right in front of us?
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