Inside Llewyn Davis (2013, dir. Ethan & Joel Coen) ***.5/****

“Inside Llewyn Davis” is as hard to watch as it is to pry your eyes from.  It is this contradiction that is at the heart of this film and what makes it so great.  

The setting is Greenwich Village in 1961 during the time of folk music in coffee houses where artists such as Bob Dylan and Dave Von Ronk (who, I read, is the inspiration for this story) cut their teeth and developed their talent.  We all know what happened to Dylan but Von Ronk was lesser known and his elusive search for credibility and success are similar to Oscar Isaac’s Llewyn in this film from the Coen Brothers.

The period detail is quite nice invoking a cold, desolate Greenwich Village in the early 60’s that is as unforgiving and unfriendly as it is frigid.  The folk music numbers throughout the film are interesting and lovely.  Oscar Isaac is a great performer and is totally convincing with his finger-picking guitar-playing as a fully, living and breathing folk singer right out of that era.  But, as his knocked-up friend’s wife (Carey Mulligan) iterates, he is “an asshole” and he doesn’t provide much to like in his performance nor as the character is written.

This is part road movie too with a journey to Chicago that includes meeting some interesting characters (John Goodman) along the way and an audition that despite an engaging, worthy performance is deemed unprofitable by F. Murray Abraham’s Bud Grossman, a club-owner/producer.

This is not an easy film to like because it doesn’t have a central character that you can really cheer for.  Its cold climate is almost inhospitable and you can almost feel the howling wind seeping through Llewyn’s inadequate jacket.  Its not a very enjoyable film to watch but you have to admire it and savour it like a cold, cold beverage as it rolls along.  

A Second Look at "American Hustle"

I saw “American Hustle” for a second time and realized how wrong I was the first time around.  This is a truly enjoyable, virtuosic and compelling drama from the mind of the great David O. Russell.  I must have been in a bad, impatient mood the first time I saw this movie.  If you just sit back and let the film wash over you, you are in for a great cinematic experience.

Film Comment magazine mentioned in a recent issue that this is a feminist film because of the fact that, despite all the cleavage, the story is driven by its female protagonists.  I think this is an interesting and accurate point.  Amy Adams as Sydney Prosser, is at her best in this film.  She looks damn good at all times and apart from an unconvincing British accent, she truly brings the film to life and her decisions are what drive the narrative forward.   Jennifer Lawrence too is a show-stopper and scene-stealer.  Playing Rosalyn, the wife of Irving Rosenfeld (Christian Bale) she is funny, lively and an aggressive foil to Adams’ character.  

The men in this film are also demonstrating top-notch performances and characterizations.  Bale’s Irving is not your typical con-man.  He is an over-weight, toupee-wearing smooth-talker and Bale is perfect in this role for making him charismatic.  Bradley Cooper is excellent and so is Jeremy Renner.   Bradley Cooper’s Richie DiMaso is a hot-headed, glory-seeking FBI agent who will do anything, including bending the law, to get what he desires.  Renner’s Mayor Carmine Polito is a man who is truly sympathetic, and in the end, heart-breaking despite his flirtations with corruption. 

There are scenes in this film that deeply thwart you expectations and are very exciting to watch.  The chemistry that develops between Cooper and Adams is riveting and will lead you on to expect a physical consummation.  But this film doesn’t resort to cinematic cliches and the relationships that the film explores will surprise you.  

The camera-work is masterful and is reminiscent of “Goodfellas” and “Casino”, two Scorses films that are obvious influences on Russell in this film.  Also, the costumes are terrific:  they are almost a parody of the time-period and are always appropriate at the same time giving a period-detail that is addictive eye-candy.

My experience with this film will demonstrate the importance of repeated viewings and being in the right frame of mind when viewing a film.  I almost dismissed one of the best films of 2013 simply because I wasn’t patient enough and in the right mood.  I love “American Hustle” and its many subtleties, nuances, and eccentricities.

Enough Said (2013, dir. Nicole Holofcener) ***/****

Nicole Holofcener’s “Enough Said” has characters in their 50’s who are divorced and interested in rekindling their romantic lives.  Eva (Julia Louis-Dreyfus) is a masseuse who meets Albert (James Gandolfini) at a party.  They start dating and have a lot in common.  Everything seems to be going well but Eva starts to focus on all of Albert’s shortcomings.  This is probably caused by her listening to one of her new massage clients, Marianne (Catherine Keener) constantly complain about her ex-husband.  This prattling seems to rub off on Eva who now only seems to notice the little things that annoy her about Albert as they continue to date.   In the meantime, Eva and Marianne become friends and we are soon given the surprise realization (Spoiler warning) that Marianne’s ex is actually Albert.

This is a movie about second chances, looking past our shortcomings, and finding happiness.  It contains characters approaching middle age but its appeal will extend to anyone of any age because it contains universal truths.  It is somewhat lightweight and its intentions are often beyond its own reach.  It is however, an enjoyable romantic comedy with good acting and tender moments.  

This is James Gandolfini’s last role and it is a big change from his previous work, especially Tony Soprano.  Gandolfini’s character is eccentric, kind, and funny.  Louis-Dreyfus is the main star and she does an excellent job of bringing Eva to life in a sympathetic manner.  There are supporting performances from Toni Colette and Ben Falcone that are strong and likable.   Some of the comedic material falls flat and it is not an overall consistent film though it is quite enjoyable.

Nebraska (2013, dir. Alexander Payne) ****/****

Alexander Payne’s Nebraska is a comical, endearing, and engaging film which is shot in beautiful, stark black and white.  It is the story of Woody Grant (Bruce Dern) who naively believes he has won a million dollars because he received a advertising notification in the mail that all of us have seen before but never fall for.  His son, David (Will Forte) after trying to convince him of the falsity of his belief, finally agrees to drive Woody to Lincoln, Nebraska all the way from Montana.  Along the way, they stop off at various locations including Woody’s childhood town where there are old scores to settle and friends and relatives to visit.

Nebraska offers a vast array of funny, eccentric characters and great acting performances.  The scenes in the home of the Grant family is packed with droll, quirky moments, memorable dialogue and odd occurrences.  This movie has real heart and soul and will leave a lasting impression on you.  It is a road movie with many interesting stops along the way.

The characters are all searching for more meaning in their lives and there is rich character development, albeit slowly.  This has been nominated for several Oscars and deservedly so.  It is one of the best pictures of the year. 

Philomena (2013, dir. Stephen Frears) ***.5/****

In Stephen Frears’ Philomena, an aging woman (Judi Dench) attempts to locate the whereabouts of her son, who she was forced to give up for adoption while living in a convent in her teens.  A political journalist (Steve Coogan) plays the man who is given the task of helping her track the long-lost son down.

First of all, the picture that is painted of Catholic nuns is not a pretty one.  It is through her forced confinement in a convent that Philomena (Dench) is forced to let go of the toddler son who she adores.  This part of the film is told in flashbacks to around sixty years prior to the current events of the movie.  The nuns in this film are seen as unwavering, uncompromising, old biddies who inflict a sense of guilt on their helpless victims.  Philomena, who has had her child out of wedlock and at a tender age is made to believe she is a sinner and evil for her procreation.  Their is a scathing critique of Catholicism in this film and its ultra-conservative views especially in the present day setting, through the eyes of journalist Martin Sixsmith (Coogan).

Coogan comes along and decides after some hesitation to agree to investigate the location of Philomena’s son.  His investigation takes them to America where there are various surprising twists, turns and new discoveries made.  I won’t give away what they are but there are heart-warming and bittersweet elements to the story.

The scene in which Philomena’s son is seen being driven away from the convent while she helplessly looks on is filmed in a powerful way that evokes heart-wrenching empathy and despair.  In the present day part of the story, the characterization of the two principal leads, Dench and Coogan, are undeniably visceral and powerful.  This is a performance-based movie and an interesting character study.  It is also one of the most finely-acted films of the year.

The Hobbit: The Desolation of Smaug (2013, dir. Peter Jackson) ***.5/****

Peter Jackson’s The Hobbit:  The Desolation of Smaug is a thrilling joy-ride of a movie.  It’s been a long time since I’ve read J.R. Tolkien’s book.  Many are complaining that this movie deviates from that source material too much and that there is a lot of embellishment and added story.  I don’t remember too much about the original book: maybe that’s a good thing.  I really was thoroughly entertained by this blockbuster.

In this film, we continue from where the first installment left off.  Bilbo Baggins (Martin Freeman) is traveling with a band of dwarves to their homeland Erebor, to reclaim it from the clutches of the evil dragon Smaug.  They are accompanied at various points by Gandalf (Ian McKellen).  Bilbo is now in possession of a mysterious golden ring.

This is pure entertainment at its finest.  You just have to sit back and enjoy the ride.  The visual effects are truly stunning and the characters are interesting and well-drawn.  Even if this is a far-cry from the novel it’s based on, it is still a fine movie and the most fun you will have at a theater in a long time.