Showing posts with label reese witherspoon. Show all posts
Showing posts with label reese witherspoon. Show all posts

Wednesday, 28 January 2015

Inherent Vice Review



Private investgator Doc Sportello goes through life bare-footed and permanently sucking on a string of joint after joint. It’s 1970 and the Manson murders are a very recent bitter memory in an era where the peace and love of the hippies is giving over to the paranoia of those who always had their sneaking suspicions about the long-haired, soap-dodging flower children. Doc gets a visit from his ex-lover Shasta who informs him that her current boyfriend (rich and married) is about to be targeted by his wife and her lover in a bid to get him committed so that they can steal his money. So begins Doc’s investigation that brings him into contact with LA’s scuzziest inhabitants that include an all-star cast from drugged up dentists (Martin Short) to slightly psychotic cops (Josh Brolin).


Inherent Vice is a breath of fresh air after the oppressiveness of Paul Thomas Anderson’s last, The Master and the gloomy juggernaut of There Will Be Blood. Joaquin Phoenix is a revelation as the shambolic PI who mumbles his way through the film in a constant daze. With so many stoners on show, the pace sometimes seems to slow to an almost complete halt. You feel like shaking some of these hippies out of their stupor and shouting at them to snap out of it and get on with the story. In that respect, Josh Brolin’s flat topped cop is a welcome relief, whether simply ordering more pancakes or attempting to kick Doc into shape.

But really, the pleasure of Inherent Vice isn’t in the investigation. Most of the film is simply a series of conversations between Doc and a revolving door of oddballs. So Phoenix’s performance is a constant source of humour, even if you completely lose track of who is shafting who, who has disappeared and reappeared and what exactly Doc is even investigating. Beyond that, the enjoyment of Inherent Vice comes from being transported into a very specific time and place. It's got a great soundtrack and a hilariously spaced out voice-over running through it. It’s the kind of movie where the smoke seems to come right out of the screen, making you feel all misty eyed for an era you may have never even experienced. Doc is a slacker hero to rival The Big Lebowski's The Dude and with its hard-to-follow narrative, Inherent Vice is liable to leave you feeling just as drug addled as its protagonist.

Watch the trailer:




More recent reviews:
 

Whiplash
Testament of Youth
The Theory of Everything
Into the Woods
American Sniper
Unbroken

Sunday, 18 January 2015

Wild Review

Based on yet another memoir, Wild is the story of Cheryl Strayed (Oscar nominated Reese Witherspoon), a woman who decides to desert her past life by packing one hell of a big bag and trekking 1100 miles of the Pacific Crest Trail from the Mojave Desert to the Oregon-Washington border. Relying on nothing but a solid pair of walking boots, the occasional help of total strangers and fellow hikers, and a head full of memories spurring her forwards and away from the dubious decisions of her past, Strayed heads out on her epic solitary journey. Frequent flashbacks fill in the blanks and detail the life that lead her to take on this mammoth walk. Her relationship with her mother (also Oscar nominated Laura Dern) and her descent into heroin addiction and unsatisfying promiscuity all figure in this life affirming tale of getting your life back on track by taking it into your own hands.


Compared to some of the other Oscar contenders that are based on memoirs and are fighting for attention in the 2015 awards season, Wild feels like a slight story with a heroine its often hard to root for. Stephen Hawking has his tragic illness, Vera Brittain has World War I to contend with and Chris Kyle had Iraqi insurgents and PTSD to combat. On the other hand, Strayed loves and loses her mother, makes some questionable life choices and then sets out on an epic walk. Even the hardships she endures seem underplayed; her addiction to heroin is glossed over and her recovery seems to take a single scene.

To his credit, perhaps director Jean-Marc Valee (Dallas Buyers Club) deliberately underplays this one woman struggle to find herself out in the Wild. The score is never rousing and the script never really throws unnecessary elements in to spice up the drama. Even Witherspoon never really gets to cut loose in her performance, making the whole film slightly subdued. There are some touching quieter moments, particularly in one scene where Strayed bonds with another female hiker and the editing is wonderfully dreamlike as thoughts invade Strayed's memory muddled mind. However, the landscapes never quite feel used to their full advantage, meaning Wild is nowhere near as awe inspiring as it should be.

Strayed's story never hits its potential emotional highs and lows. Instead of being wild, it more often withers.

Watch the trailer:



More awards-bait film reviews from I Love That Film:

Whiplash Review

Testament of Youth Review

The Theory of Everything Review

Into the Woods Review

American Sniper Review

Unbroken Review

And more on awards season:

Golden Globes Gambling

Top 10 Best True Stories of 2014

Tuesday, 30 September 2014

Paul Thomas Anderson Lightens Up with Inherent Vice Teaser Trailer

Was it really just me or was The Master a bit of a drag? Paul Thomas Anderson has had an incredible career as a director so far. First coming to my attention with Boogie Nights in 1997, he then baffled me with Magnolia, startled me with Adam Sandler in Punch Drunk Love and mesmerised me with There Will Be Blood.


But despite all the critical adoration heaped upon it, The Master left me cold and as far as I'm concerned, Boogie Nights is still by far Anderson's best film. It had a chaotic, cool vibe that was funny, poignant and had one of my favourite ever performances from the late, great Philip Seymour Hoffman.

Now Anderson seems to have settled on 'ex-rapper' Joaquin Phoenix as his go-to-guy of choice after working with him on The Master. Anderson has often talked about his love of comedy and his ambitions to make one, and Inherent Vice looks like it could get hysterical from the teaser trailer.

Joaquin Phoenix plays a shambling drug-fueled private detective who gets involved in a dangerous game of kidnapping among the incredibly wealthy, after his ex-girlfriend comes to him with the story. It's got a jam packed cast including Josh Brolin, Reese Witherspoon, Benicio del Toro, Owen Wilson and Eric Roberts but best of all, it seems that Josh Brolin may actually be having fun in this movie. It's been a while. Here's the trailer:



Did it get you?

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Wednesday, 29 January 2014

Daddy issues: The Place Beyond the Pines and Mud

I'm working my way through the big films of 2013 that I missed and I started with a pair of films about fathers and father figures; The Place Beyond the Pines and Mud.


The Place Beyond the Pines is Derek Cianfrance's follow up to Blue Valentine and his second collaboration with Ryan Gosling. It has a very strange and surprising structure with the film being divided into three very clear acts but with each one following a new character. Firstly there is Ryan Gosling's Luke, a stunt motor cycle rider who turns to robbing banks when he discovers he has a son with an old lover of his played by Eva Mendes. Luke is a fascinatingly flawed character who seems determined to do the right thing by doing the wrong thing. He wants to use his skills to provide for his son but Mendes is coping fine and also has a new man who is clearly perfectly capable of looking after the child.

The scenes where Luke has to ride away from the banks and evade the cops are thrillingly shot, giving a real sense of the speed and the danger. It is only when Bradley Cooper's cop Avery shows up that things get really sticky and the film starts to follow him instead. Shot in an altercation with Luke, Cooper's character is as morally dubious as the bank robber he is chasing. His rise from cop to District Attorney is questionable, even if he does bring down corrupt cops like Ray Liotta's Deluca.


The final act of the film skips forward to when both Luke and Avery's little boys are now teens. Cooper's son AJ is a bad influence on Gosling's boy Jason and though the pair do not know their father's histories together, their relationship is at first fun but soon turns nastier. Dane DeHaan is superb in these scenes as the sins of the fathers come back to haunt the sons. The Place Beyond the Pines threatens to descend into vigilante style revenge silliness but then pulls back and emerges as something far smarter and ultimately affecting. Powered by a trio of excellent performances, some kinetic cinematography in the early scenes and an odd yet sometimes unforgettable score from Mike Patton, The Place Beyond the Pines is a fascinating film about the way our fathers fuck us up in their own ways.


Mud, on the other hand, follows two young boys from the start to the finish. Ellis and Neckbone encounter a fugitive on an island in the Mississippi River and agree to keep him a secret and help him communicate with the love of his life who he cannot visit on the mainland. Calling himself Mud and played by Matthew McConaughey, this fugitive is evading the law and vigilantes who are out for revenge. He wants to fix a boat on the island but needs the two boys' help in getting parts and also getting his love Juniper (Reese Witherspoon) to come with him.

Newcomers Tye Sheridan and Jacob Lofland as Ellis and Neckbone carry the entire film on their shoulders and are absolutely superb. Ably supported by Sam Shepard, Sarah Paulson and McConaughey; the boys deliver completely convincing performances as they get some harsh lessons about love and life. Tye Sheridan in particular is fantastic in scenes with his stern but fair father and when learning the hard way that love is never easy.


Mud is a simple tale, well told. Its female characters leave a lot to be desired with women appearing to be the cause of so much male strife. Neither Juniper nor Ellis' mother come across very well, while the men appear to be wiser and worn down by their women folk. Unlike The Place Beyond the Pines, Mud does descend into vigilante style revenge silliness. It climaxes with a brilliant little shoot out that is tense and if a little too conveniently plotted, still very convincing. The coming of age stuff works best and perhaps didn't need the extra excitement of snake bites and shoot outs but Mud manages to stay believable in no small part due to a cast full of fine performances.

More reviews at I Love That Film:

The Wolf of Wall Street

Out of the Furnace

Philomena

Dallas Buyers Club

12 Years A Slave

American Hustle

All is Lost

The Railway Man

Mandela: Long Walk to Freedom

Captain Phillips