The Bling Ring (****1/2)

There seems to be an emerging genre in film this year. Maybe we should call it the "grunge-teen-crime" genre.  First seen in 'Spring Breakers' earlier this year, Sophia Coppola's remarkable 'The Bling Ring' touches on many of the same ideas. From one of the most original voices in American cinema today, Coppola reminds us of her talent behind the camera. 'The Bling Ring' is yet another revealing, entertaining piece of eye candy that will surely cause many people to stop and think. 

Perhaps you remember the story, a group of teenage hooligans made their rounds to an impressive amount of celebrity homes (Paris Hilton, Lindsay Lohan, etc) and robbed them silly. The absurdity comes from the ease with which they entered each home, the amount they got away with in luxury goods (over $3 million), and the blatant attempt at fame. 

Coppola dives deep, creating touching, disturbing, and oftentimes hilarious moments. Though the film is based on actual events (a magazine article, to be exact), it plays like a true drama, as though the events themselves were always meant to become told through film. We meet Marc, a quiet kid, newly transferred to his current high school. He meets Rebecca, they bond, and naturally their after school activities lead to burgalry - first cars on the street, then to houses, then to the homes of their idols. 

A film is only as good as its cast, and boy, what a case. The mostly unknown actors are flawless, but we must gives praise to Emma Watson. From Harry Potter to her continuing progression into more adult-themed films, she is flawless in the role of Nicki. Home-schooled by a crazed mother obsessed with 'The Secret' and without a sense of consequence, she steals scene after scene after scene. 

The film is met with criticism, mostly for the director's inability to dive below the surface and truly analyze her characters. Nonsense. Coppola herself has said this is a story that could not have been told 10 years ago, that the actions of these kids is so boggling and in many ways foreign to common sense. Her direction proves this point. None of the actors are playing overtly likable people. In fact, they could be classified into the category of 'brats.' How can we relate to someone whose motive is driven by the mere hope of becoming famous? Were any lessons learned during the course of the story? I will not spoil the ending (aside from them being caught, obviously), but I don't think any film this year has concluded with such a spot-on final line. It's left me thinking, days later. Isn't that what 'good' movies are supposed to make you do?

(Awards potential: Best Supporting Actress (Watson), Best Adapted Screenplay, Best Costume Design, Best Art Direction)

What Maisie Knew (*****)

From the remarkable eyes of a child comes the best drama of the season, a movie filled with never ending beauty, sadness, and ultimate hope. Have you heard of it? Probably not, but this small independent film should make its way through the country in the coming weeks, and regardless of travel time, here is a film I would highly recommend you take the time to experience.

The story is entirely through the eyes of Maisie, the bright, beautiful, and charming star (in a breakout role by Onata Aprile, perhaps the most remarkable child performance I can think of in quite some time). Her parents bitterly fight over custody, and what ensues is a 'Kramer vs. Kramer' type legal battle.

But no, that's not the story at all. You see, each parent remarries, and although things seem good at first,  these marriages also succumb to the failure of Maisie's parents. And all through the eyes of a child, a girl who is content pressing flowers she received from her mother, or drawing castles and watching boats on the lake. She warms up to her parents' new spouses, Lincoln and Margo, and her parents become more and more engulfed in their work. What defines a family? Is there such thing as a 'good' or  'bad' parent? Perhaps the movie seeks answers, or perhaps we are meant to watch and observe.

Through heartbreaking scenes, the movie flows its way through plot points like a needle and thread. This is masterful filmmaking, and with such a particular attention paid to Maisie's childhood in particular. Her parents, played by Julianne Moore and Steve Coogan, strike the perfect tone as adults consumed with bitterness and money. Maisie comes second to their own success. And Maisie's step-parents, played by Alexander Skarsgard and Joanna Vanderham. What striking characterizations, people we warm up to in real time with Maisie. By the film's end I was absolutely filled with joy and hope, or is it too much to hope as an adult, these days?

In the midst of action movies and major blockbusters, here is a quiet movie that moves mountains. Based on a book written in the late 1800's, it's impossible to imagine a story more relevant to today's culture and perception of 'the family.' By far the best movie of 2013 so far.

(Awards potential: Best Picture, Best Director, Best Actress (Aprile), Best Supporting Actress (Moore, Vanderham), Best Supporting Actor (Skarsgard), Best Adapted Screenplay)

The Great Gatsby (**)

It seems that movies can have children, afterall. The proof is here: Baz Luhrmann's 1920's redo of his very own 'Moulin Rouge!' Oh wait, it's actually based on the F. Scott Fitzgerald novel, right? Regardless, here is the summer movie everyone was waiting for during the 2012 holiday seaon. Why the release was bumped to early May is slightly confusing, but at last we can see what all the hype was about... Or what it was supposed to be about.

We meet the hero, now driven into a depression after the bout of parties and sex he experienced. Told through narration, we see flashes of the colorful life he shared in the peculiarly wealthy homes of New York City. Drinking, sex, color, modern music, it's a wonder Leonardo DiCaprio didn't break out singing 'Lady Marmalade.'

We all know the story (or I think we should, based on most high school's English reading syllabus), we all know Baz Luhrmann's directorial style. Perhaps it was a good idea on paper, but the end result is a kinetic mess of a movie, a story overdrawn and too heavy for its own good. What can one say walking out of this movie except 'wow, that was a chore.'

The problems lie in several areas. First the cast. Our star, Tobey Maguire, continues to get work even though his acting skills are on par with, well, Lassie. He manages to completely miss the weight his character but bring to the story, and alongside DiCaprio and Mulligan, he fails to complete the trio. That's not to heap praise on Leonardo, either. He seems to have fallen into an acting rutt, and it seems virtually all his performances carry the same mannerisms, ticks, accents, and gestures. Is he one of the world's greatest actors, or is he revealing himself to be a flash in the pan?

And the story itself. Well, I don't think I will be the first in declaring 'The Great Gatsby' an unfit story for the 3D process. There are moments of depth and clarity that it perhaps lends itself to, but the majority of the film clunks along in a never ending barrage of poorly-written dialogue scenes. 3D or not, seeing a teary-eyes Carey Mulligan popping out of the screen towards me in no way enhances the viewing experience.

There are parts of the movie that succeeded, in some regards. Going into a Luhrmann film, one expects obscene party scenes, and he does not disappoint. There is a refreshing take on the roaring 20's that he somehow manages to capture through the Beyonce/Jay-Z soundtrack. In trying to dig for more pro's to add to my list, however, I come up short.

Perhaps I am not a fan of this style of filmmaking. Perhaps I was having a bad day when I saw the movie. Perhaps my opinion is invalid. Or perhaps this is simply a mediocre movie.

(Awards potential: No awards potential)

The Place Beyond the Pines (Jo***1/2)

How does one begin a review covering a film nearly 3 hours long, dealing with 3 distinct chapters, covering years, many characters, and a variety of emotions? I'm not sure. One thing is for sure, Derek Cianfrance (the director) has definitely improved upon his last cinematic venture, the pretentious bore 'Blue Valentine.' Perhaps 'Pines' gets too wrapped up in its own head, perhaps it tried too hard to achieve something that was much simpler that we believed. Or, perhaps here is one of the year's greatest movies, I just haven't realized it.

The story begins with Luke (Gosling), a circus performer and motorcycle enthusiast, who discovers he fathered a child with Romina, a one-night stand during his last visit. Luke, shocked by the situation and at a loss for memories of his own father, decides to quit his job to support the child. Of course when all other plans dry up, he resorts to bank-robbing.

The next chapter then begins with Avery Cross (Bradley Cooper), a cop who catches Luke in the act. He becomes a local hero of sorts, injured in the line of fire, himself with a child of similar age. During his off time, he discovers the corruption within the city's police system, and battling with his own personal demons, faces the criticism of his friends and coworkers to resolve the issue.

And the final chapter: fifteen years later, when we follow Luke and Avery's sons meeting up in the most coincidental fashion ever. The story wraps up slowly, building in pace to nothing more than a motorcycle riding off on the horizon. As much as the plot guides the narrative, the story points to a move character-driven piece, examining motives and feelings and actions.

The film is beautifully shot, impressively acted (with Cooper outdoing his most recent Oscar-nominated performance in 'Silver Linings Playbook'), though I can't help but get lost in the script. As we see in one of the first shots of the film, Luke rides in a motorcycle cage, narrowly dodging the other 2 stunt performers. In many ways this could be interpreted as the plot, itself (which I'm sure is the case - how much more literal could they have made it?). But as exciting as the sight is, wouldn't it be more exciting to see a crash? We are tempted with the idea of a collision, but fail to be rewarded. This is not to say that I think the film required more action. On the contrary, the film succeeded on it's quiet notes and observational camerawork. Maybe the film needed a bit more cohesion: a movie with 3 parts that actually felt like part of a whole, not three short films hastily assembled together.

(Awards potential: Best Actor (Cooper), Best Supporting Actor (Gosling, Dane DeHaan), Best Supporting Actress (Mendes), Best Original Screenplay, Best Cinematography, Best Original Score)

Identity Thief (Jo**)

Identity Thief represents a seeming standard of today's comedies. What may have originated with The Hangover, today humor seems to be veered towards crime, violence, and an ever-increasing amount of subplot. Sure, there were some laughs to be found at the Melissa McCarthy/Jason Bateman pairing, but this is a movie that mostly fell flat on its face.

With the tagline 'She's having the time of his life,' and the popularity of McCarthy, you think this film would be a rousing success. Alas, we find a movie that snoozes when it should excel. Bateman works in a law firm, has a feminine first name (Sandy, funny maybe the first 2 times), and gets his identity stolen by McCarthy (Diana, or whatever her real name is). Bateman decides to travel to Florida to physically bring her back to face justice, thus hilarity ensues.

I have to admire McCarthy, especially, who delivers a performance of surprising depth considering the subject matter, though her story is trapped in a movie that works better as a jigsaw puzzle than a coherent story. Diana is pursued for some reason by the Mexican Mafia, as well as a hick bounty hunter (played by Robert Patrick), though these subplots really never pay off for better or worse.

And that's about it. Sorry to be brief, but I would feel better committing my time towards something other than this review.

General consensus? Wait for RedBox.

(Awards potential: No awards potential)