Top 10 Films of 2014 - Part Two

05) Calvary - Out of many things that can make movie-watching an enriching activity is when you begin a film and think it’s gong to play out in a certain way, only to then have the story unfold into something else.  Such is the case with John Michael McDonagh’s drama, “Calvary.”  Brendan Gleeson plays Father James, a Catholic priest in Ireland.  One day at a confession service, a parishioner reveals to Father James that he plans to kill him for wrongs done to him in his childhood by another priest.  By the time we’re introduced to the eclectic group of supporting characters, we already know who the confession-goer is because of the person’s recognizable voice.  Because of that, the film doesn’t turn out to be a guessing game of who’s threatening Father James, but rather a story about a priest knowing who this individual is and hoping the person decides not to go through with the murder, which will then confirm the priest’s belief that there is still goodness in this person.  The film is anchored by an emotional performance by Gleeson that really makes the audience hope for him to get through his parish’s uncertain and troubling times, and although the awards circuit isn’t giving his performance and the film itself the attention it deserves, it certainly deserves yours.

04) Whiplash - The struggle for perfection can take a physical, mental, or emotional toll on an artist, and that’s certainly the case with this drama from Damien Chazelle.  Miles Teller plays Andrew Neiman, a gifted, 19-year-old jazz drummer who attends the (fictional) Shaffer Conservatory in New York and soon comes under the unbearably strict tutelage of conductor Terence Fletcher (J.K. Simmons). Teller expertly manifests the troubling effects that his character’s strive to be the greatest has on him, but the performance that truly commands this movie is Simmons’.  As the verbally abusive and formidable jazz conductor, the authority that Simmons brings to the role makes him endlessly interesting and frightening to watch.  Other than the performances, Chazelle stages some excellent music scenes, and the last five minutes includes one of the most staggering musical sequences to appear in any film in quite some time.  Chazelle offers a great deal of tension that brews in this film that renders you unmovable at times, a testament to the power that this stunning movie has on the viewer.

03) Foxcatcher - Bennett Miller is a filmmaker who excels in biographical dramas.  With “Moneyball” and “Capote,” he proved to have a reliable hand at bringing the lives of American figures to the big screen.  His latest film tells the disturbing true story of affluent wrestling coach John du Pont (Steve Carell), who invites Olympic wrestler Mark Schultz (Channing Tatum) to train on his estate with other young wrestlers.  The two eventually form a friendship that leads to tragic consequences.  The dramatic depths to which Carell is able to go for this film are astonishing, all adding up to a performance the likes of which are far beyond what we’ve seen him do, and he’s backed up by tremendous work from Tatum and Mark Ruffalo, who portrays Mark’s brother, Dave.  The story takes its time in developing the relationship between John and Mark, slowly preparing the audience for the unsettling results of their connection.  Even though you already know what happens in the end, Miller doesn’t make it any less startling.  His handle on true stories is genuinely admirable and continues to stay as strong as ever.

02) Birdman - Director Alejandro González Iñárritu’s films tend to be grim, yet very affecting dramas.  Because of that, I never would have thought he would pursue a comedy, but with his latest film, he succeeds with his jump into an entirely different genre.  Michael Keaton stars as Riggan Thomson, an actor once known for starring in a series of blockbuster superhero movies.  Having lost his popularity, he sets our to be taken seriously by adapting a Raymond Carver short story for Broadway, a project that leads to many difficulties.  Keaton gives the best comedic performance of the year, one that also has some sadness to it, and is joined by a hilarious supporting cast, highlighted by Edward Norton as a Broadway star who goes to extreme levels to show how dedicated he is to his craft.  The movie is also proficient in its camerawork, having been shot and edited to make it appear has though most of the film was done all in one long take.  Iñárritu’s emergence into comedy is one that’s both truly funny and very artful, and any other ideas he might have for this genre will be certainly welcome in the future.

01) Boyhood - The most magical cinematic experience of the year is director Richard Linklater’s story about the transition from childhood to adulthood.  The story follows Mason Evans (Ellar Coltrane) as he ages from 6 to 18 and traverses through the fun and difficulties of adolescence.  The movie began shooting in 2002, with the cast coming together annually for 12 years to film for a brief period each year, and the result has the audience watching Mason grow up right on screen.  The cast also includes Patricia Arquette as Mason’s mother, Ethan Hawke as Mason’s father, and Lorelei Linklater as Mason’s older sister, and the time they have spent over the years filming this movie clearly makes their familial bonds that much stronger in the film.  This is an unforgettably beautiful and special movie, one that has the ability to resonate with any viewer.  I would even say that this film should be included in the high-school curriculum for seniors because of how those students will be able to appreciate Mason’s full journey as they get ready to make the transition out of high school, just as he does at the end of the movie.  The ambitiousness of this film and the cast and crew’s 12-year dedication to bringing this achievement to moviegoers is a cause for celebration, and once you see “Boyhood,” you’ll understand why. 

Be on the lookout for my Oscar predictions in February.

Top 10 Films of 2014 - Part One

10) Nightcrawler - Dan Gilroy makes a superb accomplishment in his directorial debut, focusing on a story whose main character, Louis Bloom (Jake Gyllenhaal), is a sleazy and unlikable video journalist in Los Angeles who films grisly stories to sell to a local news station.  With an impressively creepy performance by Gyllenhaal, Rene Russo’s stellar supporting role as Bloom’s ratings-hungry boss, and a stylishly shot, climactic chase scene, you have yourself a terrifically gripping thriller.  Because of Bloom’s constant invasion of privacy throughout the movie, Gilroy gives audiences a film that is unnervingly voyeuristic, and I mean that as a sincere compliment.

09) Locke - One of the more daring films of the year came with this drama by Steven Knight.  Its boldness comes with the story confining the audience to the main character’s car for almost the whole film.  Tom Hardy plays Ivan Locke, a construction foreman who, one night, must make an unexpected drive from a worksite in Birmingham to a hospital in London.  For what reason?  You’ll have to see the movie.  The film is a fascinating and claustrophobic concept involving Ivan speaking on his car phone throughout the drive as he receives calls from his family and coworkers, having to deal with pressing matters on both fronts.  This is a movie that, because of the unique plot, will have you completely invested in wondering where the story will end up, and Hardy’s performance skillfully displays the growing pressure that his character is facing.  In the end, the movie’s confidence in its execution completely pays off.

08) The Skeleton Twins - Even though they’re not on “Saturday Night Live” anymore, we certainly can’t forget all of the times that Bill Hader and Kristen Wiig made us laugh with their abundance of comedic characters.  In this film from Craig Johnson, however, he has this acting duo go for something very different.  The story focuses on siblings Milo (Hader) and Maggie (Wiig), with the latter bringing her brother to stay with her to get his life back in order after his failed suicide attempt.  Although the film allows its two costars to share some comical moments, their dive into drama is never overshadowed, but thankfully, it’s also able to refrain from becoming overly sentimental.  The amount of time that Hader and Wiig have spent on “SNL” in the past certainly helps in providing them with the chemistry that’s needed to make this a well-acted sibling relationship.  The two go into emotional territory that I wouldn’t have ever expected to see them try, but both actors are able to find the power to do so.

07) The Lego Movie - Phil Lord and Christopher Miller’s animated romp was one of the biggest and most pleasant surprises of 2014 cinema.  While at first it looked like a blatant merchandizing move to sell more of the famous building blocks, it took only the first few minutes of the movie to win me over.  The film tells the story of Emmet Brickowski (voiced by Chris Pratt), an ordinary construction worker who teams up with Master Builders Wyldstyle (voiced by Elizabeth Banks) and Vitruvius (voiced by Morgan Freeman) to help save Emmet’s home of Bricksburg and other Lego worlds from the reign of Lord Business (voiced by Will Ferrell).  With its hilarious visual and verbal humor, brilliant voice cast, stunning animation, infectiously catchy pop tune “Everything Is Awesome,” and a poignant third-act twist, this film offered so much more than I expected, and I thoroughly enjoyed every minute of it.

06) Gone Girl - As if any more evidence is needed to see why David Fincher is one of the most talented directors working today, he goes and takes Gillian Flynn’s twisted and addicting novel about a horribly unstable marriage and makes a rare film that is as good as its source material, maybe even a little better.  Ben Affleck and Rosamund Pike play Nick and Amy Dunne, a married couple living in Missouri.  On the day of their fifth anniversary, Nick comes home to see that Amy has gone missing, and he’s viewed as the prime suspect.  Although Affleck gives what is probably one of his best performances, Pike dominates the movie as Nick’s mysterious wife.  Working with a screenplay by Flynn and using a first-class combination of editing, cinematography, and music to tell the story, Fincher manages to construct a film that continues to build, even after the big reveal halfway through.  Just like any other movie with an ending that doesn’t offer any easy answers, this one will get filmgoers talking.

Watch out for next week when I reveal part two of my list.

A Romance Between Two College Students and the Adversity They Faced

Stephen Hawking, being one of the most extraordinary minds of the last 50 years, has many contributions in the field of physics.  Despite his affliction with motor neuron disease, he continues to impress the world with his boundless intelligence.  

In director James Marsh’s biographical drama, “The Theory of Everything,” he chronicles the relationship between Stephen and his wife, Jane, as they deal with the challenges of his illness.  

Stephen Hawking (Eddie Redmayne) is a physicist studying at Cambridge in the 1960s.  One night at a party, he meets Jane Wilde (Felicity Jones), a literature student, and they form a passionate bond.  When Hawking visits the doctor after experiencing a fall on campus, he learns that he has MND.  Despite being told he only has about two years to live, Hawking strives to continue his scientific work, choosing to focus on time and the history of the universe, while also maintaining a marriage with Jane, and he eventually lives beyond the limit that was expected of him.  Over the years, Hawking’s journey will lead him into becoming a world-renown genius.

Eddie Redmayne gives the most physically dedicated performance of the year.  During the time both before and after Stephen is diagnosed, Redmayne becomes Hawking, and his portrayal of this academic icon is deeply respectful.

One of the most heartbreaking scenes for Stephen is when he’s trying to get up the stairs in his house and has to crawl, having completely lost his ability to walk.  As he’s doing this, he sees his infant son looking at him from the top of the stairs behind a protective baby-gate.  The scene is as sad as it is because it pairs Stephen’s son, who is in his pre-ambulatory state, with his father, who is now in the process of losing his ambulatory abilities.

Just like that aforementioned scene, there are other moments that show you what Mr. Hawking went through with his illness, but when you see him experience his academic achievements, you feel absolutely thrilled for him for overcoming his challenges and having the opportunity to share his gifted brain with the world.

Felicity Jones wonderfully shows Jane’s determination to see her husband succeed, and it speaks a lot about the love between them.  With Jones’ performance, we get an idea of how much care she provided for Stephen and the lengths she went through to make sure he would continue his work.  When Jane first hears about Stephen’s ailment, her inner strength immediately comes out as she refuses to leave his side, and Jones exhibits a strong sense of tenderness in the role.

What I appreciated most about Anthony McCarten’s screenplay is that, because it’s based on Jane Wilde Hawking’s memoir, “Traveling to Infinity: My Life with Stephen,” the story focuses equally on both Jane and Stephen.  It has a sufficient amount of Stephen’s scientific work throughout, so we’re able to see the far reach of his brilliance, but it mainly sets out to tell the story of Jane and Stephen’s marriage and how it was impacted by his disability.  Between the scenes of Stephen and Jane living their lives together and of Stephen working through his illness to achieve his scientific goals, the film is a pretty engaging combination of a love story and an underdog story. 

Although there are a few spots in the film that seem noticeably crafted to be Oscar bait, director James Marsh is able to get strong performances out of his two leads to help the film rise above this issue.  With Marsh’s handling of the material, what could have turned out to be a biopic that tries too hard is really a movie that succeeds in telling the story that it wants to tell.  

“The Theory of Everything” is a loving account of Stephen and Jane Hawking and the life and affection they shared.

Final grade: A-

An Olympian and His Coach Form a Destructive Friendship

Bennett Miller is a filmmaker who seems to specialize in deep studies of American figures.  He has focused on underdog Oakland Athletics general manager Billy Beane in “Moneyball,” acclaimed author Truman Capote in “Capote” and famous New York City bus tour-guide Timothy “Speed” Levitch in his documentary, “The Cruise.”  With these films, Miller provides viewers with richly detailed narratives of certain events in these characters’ lives, giving us an understanding of who these people are, or where.

He has accomplished this once again in his biographical sports drama, “Foxcatcher.”  In the film, Miller tells the story of the bond between an Olympic wrestler and his coach and the tragic consequences that followed.

For all of his life, Olympic wrestling champion Mark Schultz (Channing Tatum) has been living in the shadow of his brother, Dave (Mark Ruffalo), also an Olympic wrestler.  One day, Mark receives a phone call from the wealthy Foxcatcher Farm in Pennsylvania to meet with millionaire John du Pont (Steve Carell), who decides to use his facilities as a training ground for young wrestlers.  While there, Mark is offered the opportunity to train alongside these wrestlers, with the hopes of getting a spot on the U.S. team for the 1988 Summer Olympics and winning the gold.  As Mark continues to reside on the estate, the bond between him and John will eventually lead to consequences that neither could have predicted. 

Steve Carell’s portrayal of du Pont is a very chilling performance.  Although Carell has mostly worked with comedic roles in his career, he is so absorbed in his character that you don’t even think about Carell as Michael Scott from “The Office” or Brick Tamland from the “Anchorman” films.  It’s a jarring change from what we’re normally used to seeing him do, and it’s undeniably impressive, a big leap forward into a different dominion for his acting talent.  With the role of du Pont, Carell brings us a character who strives to fit in and desperately wants someone with whom he can connect.

Besides du Pont’s strange demeanor, Carell also gives us a vivid sense of his character’s desire to be respected.  This is seen throughout the film, especially when he tries to have his hard-to-please mother (Vanessa Redgrave) support his endeavors.  Even though Redgrave has very limited screen time, we get a sense of her character’s disapproval towards John and his devotion to wrestling.  Because of their strained connection, it’s a mother-son dynamic that reminds you of the kind that Alfred Hitchcock would place in some of his films.

Similar to Carell, Channing Tatum gives a performance that is far from what we’ve seen him do in the past.  As a wrestler who wants to prove that he can be as good as his brother, Tatum effortlessly brings across Mark’s sense of shortcoming, a character who wants to reach his highest potential and earn the appropriate recognition for it.  Tatum’s ability to display the physical and mental damage his training is putting on him shows a whole other side to his acting ability and how committed he is to showing the unraveling of his character’s psyche, particularly in the scene following his defeat in the first round of an Olympic trial.

Mark Ruffalo does a highly memorable job in his role as Dave Schultz, an understanding, soft-spoken and compassionate brother who only wants the best for Mark, and he brings forward a comforting presence in his behavior as his character does what he can to look out for Mark’s well-being.

Similar to Miller’s “Moneyball” and its behind-the-scenes look at baseball, the screenplay by E. Max Frye and Dan Futterman doesn’t focus directly on the sport of wrestling, but instead takes more of a look at what goes on in the background, the events that athletic spectators don’t see.  Here, the writers do a stunning job in depicting the friendship between John and Mark, two individuals who are looking to bond through their similar interests.  The connection that the two characters end up establishing is one that’s equally complicated and heartbreaking, and the scenes that Frye and Futterman write for these two characters to share take their time in progressing John and Mark’s relationship and the tension that soon accompanies it.

Director Miller is a filmmaker whose movies thrive on being dialogue-driven.  The scenes that he films between Carell and Tatum are especially memorable because of his ability to have these two actors succeed in delivering uncommonly dramatic performances.  In “Foxcatcher,” Miller powerfully captures the loneliness and longing to be honored that John and Mark exhibit, and he brings us a masterful true-story account for the screen that should now be considered as a part of the gold standard for biopics.

Final grade: A 

A Superhero Story of a Boy and His Huggable Robot

“Big Hero 6,” a computer-animated film that is based on the Marvel comic of the same name by Steven T. Seagle and Duncan Rouleau, brings us a heartfelt and witty tale about a young boy who’s dealing with loss and later uses his intellectual strengths to save the day.  Able to be enjoyed by both children and adults, this is a film with an admirable blend of comical and emotional elements, a synthesis that viewers of any age can appreciate.

In the city of San Fransokyo, 14-year-old robotics expert and early high-school graduate Hiro Hamada (voiced by Ryan Potter) spends most of his time involved in secret robot fights.  When his older brother, Tadashi (voiced by Daniel Henney), thinks Hiro should be doing something better, he takes him to his lab at a local university and introduces him to Baymax (voiced by Scott Adsit), a healthcare robot that he created.  Hiro, having been encouraged by his brother to apply to the school, builds a swarm of microbots to present at a science show put on by the university.  When a fire following the show kills Tadashi and destroys the microbots, Hiro teams up with Baymax and some of his brother’s college friends, forming a group of heroes that begins a pursuit of a masked villain who might be responsible for the tragedy.

The animation throughout the film is resplendent in its detail.  The city of San Fransokyo is vividly realized and stunning to look at with its merging of the cultures and architectural structures of San Francisco and Tokyo.  All of this is seen especially in the sequence when Hiro, having finished providing Baymax with his new armor, takes him out for a flight through the bustling city.  It’s a section of the film that gives you an expanded view of the film’s setting, allowing you to become familiar with the film’s colorful and imaginative backdrop.

The screenplay by Robert L. Baird, Dan Gerson and Jordan Roberts does a thorough job in providing us with an idea of the sibling relationship between Hiro and Tadashi.  Actually, most of the first half hour of the film commits itself to having us get to know these two characters and the strong bond they share.  The time we spend with these two brothers allows us to have a deeper understanding and feeling of the grief that Hiro experiences when losing Tadashi.  The emotion of this story is Pixar-esque in its sincerity, a sincerity that I love to see in children’s movies because of how it allows older viewers to appreciate this type of film as well.

Although the movie could have spent a little more time developing the villain, it’s a minor and forgivable flaw because the film doesn’t waste that time, but rather uses it to focus on Hiro to have us learn about his origins as a superhero in the making.

Directors Don Hall and Chris Williams do a terrific job with the action sequences, especially the chase scene between the villain and soon-to-be-heroes on the streets on San Fransokyo.  These thrilling segments are finely spaced throughout the movie, never overtaking the film’s emotional core.

Given how well they carry out the action, I wouldn’t mind if Hall and Williams directed a big-budget film in the future, similar to how Brad Bird successfully went from directing animated films, such as “The Incredibles” and “The Iron Giant,” to directing “Mission: Impossible - Ghost Protocol.”   

“Big Hero 6” delivers a great deal of fun as it introduces us to its group of heroes, providing us with a story that is as humorous as it is touching.  Given how enjoyable this film is, I would really like to see another outing of this superhero team, and the final shot of the film does its job in getting us excited about where the story will take these heroes next.

Final grade: A-

Reviewer’s note - Before the main feature begins, there is an animated short called “Feast,” a truly heartwarming story about a Boston Terrier, his new owner, and their bond over food.  It’s a magical start to what is a wonderful viewing of animated cinema.

Also, be sure to stay through the end credits of “Big Hero 6” for a special scene.  The one at the end of this film includes an insanely fun cameo that hilariously sets up a possible sequel.

When Trying to Heighten Your Musical Talent, It Can Be Brutal

Director Damien Chazelle’s musical-arts drama, “Whiplash,” opens with a black screen.  We begin to hear a snare drum playing slowly and softly.  As the seconds tick by, the sound crescendos and becomes faster.  It’s a way of preparing the audience for how the relationship between the student and teacher at the center of the story plays out.

Andrew Neiman (Miles Teller) is a gifted, 19-year-old jazz drummer at the (fictional) Shaffer Conservatory of Music in New York who strives to be one of the greats.  When his band class is visited by one of the school’s conductors, Terence Fletcher (J.K. Simmons), he notices Andrew’s talent, and invites him to be an alternate drummer for his jazz band.  After the first practice, however, Fletcher proves to be ruthless, and Andrew realizes he’s going to have to work harder than ever to win the approval of his instructor.

Miles Teller is a superbly talented young actor, and he provides one of the year’s most painful performances.  Not in the sense that it’s bad, but because of what his character has to go through when trying to reach his fullest potential.  There is literally blood, sweat and tears involved with what Andrew as to go through, and Teller excellently displays the physical and mental damage of his character’s strive for perfection.  It’s a mighty expression of what it means for his character to suffer for his art.

J.K. Simmons, like a sledgehammer smashing a glass window, shatters the screen as the tyrannical and verbally abusive conductor who rules his jazz band with an iron baton.  For a film that’s not in the horror genre, Simmons makes Terence Fletcher one of the most terrifying movie characters of the year.  The power of his performance will have you sitting frozen in your chair and will reduce you to a nervous wreck as you wait to see what he will do to put his students on edge.  Even in his character’s calmer moments, you can sense his viciousness lurking underneath, and you’re always trying to mentally prepare for his next angry outburst.

The screenplay by Chazelle isn’t just a performing-arts drama about a talented musician trying to make it big, but is also a story that really dives into the relationship between the student and his conductor, a relationship that can be seen as both helpful and destructive to the pupil.  The story makes you question whether Fletcher’s teaching methods do more harm than good, a question that is especially brought to light in a scene shared by him and Andrew where the former explains his reasoning behind his abrasive teaching methods.  It’s a film that belongs to Teller and Simmons as they present the ongoing confrontation between their characters, and you’re constantly wondering where their relationship is going to bring them.

Director Chazelle has the ability to film astonishing musical sequences, and there are two in particular that come to mind.  One is where Fletcher has Andrew and two other drummers go through a grueling audition to see who’s a better fit to be the band’s main percussionist.  The other is the last five minutes, which will give you one of the best adrenaline rushes of any film this year, but I won’t say anymore concerning that scene.  Chazelle is capable of making these segments as intensely dramatic as the interactions between Andrew and Fletcher.

With “Whiplash,” Chazelle gives us an unyielding look at the fierce dedication and discipline that a young musician will show in order to achieve greatness, and it has the thunderous power of the banging of drums and crashing of cymbals.

Final grade: A

An Actor Fearing His Irrelevance

Director Alejandro González Iñárritu has made some emotionally heavy films, such as “Biutiful” and his “Death" trilogy, which consists of “Amores Perros,” “21 Grams” and “Babel.”  There’s a grim nature that runs throughout these movies, but the way he films that grimness shows how Iñárritu can find something meaningful to say, even in the harshest of situations.  With the projects he’s done in the past, his latest filmmaking accomplishment is something that comes as a surprise.

Iñárritu decides to bring us something insanely different with his dark comedy, “Birdman.”  In a film that displays show business from several different angles with touches of satire, he has made one of the best comedies of the year, as well as one of the best films of the year.

Riggan Thomson (Michael Keaton) is a washed-up Hollywood actor who gained his fame by playing a superhero called Birdman for three movies.  Now trying to be taken seriously in the entertainment industry, he decides to write, direct and star in a Broadway-play adaptation of Raymond Carver’s short story, "What We Talk About When We Talk About Love."  Wanting to get an esteemed Broadway actor to perform one of the other lead roles, Thomson brings in the highly demanding Mike Shiner (Edward Norton).  Aside from these two egos butting heads, Riggan must also deal with family issues, while also having to come to terms with the possibility of no longer being famous in the eyes of the public.

Michael Keaton delivers an enjoyably strange performance.  It’s an accomplishment that’s terrifically suited for the humorously bizarre nature of the story, and the voice of his Birdman persona in his head adds a duel between the two personalities that drives the comical side of the story.  Keaton’s portrayal of a struggling actor trying to revamp his popularity is every bit as funny as it is sad.  In the scenes he shares with his daughter and wife, we can see that, despite being firm about bringing his career back to life, he still cares deeply about his family.

Edward Norton is wonderfully funny as an insanely committed actor who comes in as a replacement for one of the play’s leads.  It’s outrageous fun to see how far he will go to give the most honest performance he can, and he comically displays his character as a nightmare to work with.

The supporting cast includes Emma Stone as Riggan’s just-out-of-rehab daughter, who gives a searing monologue to her father on his irrelevance; Naomi Watts, whose character is at hilarious odds with Norton; Zach Galifianakis, who plays a refreshingly against-type role as Riggan’s lawyer and best friend; Lindsay Duncan as an unreasonably harsh theater critic; and Amy Ryan as Riggan’s warmhearted ex-wife.

The cinematography by Emmanuel Lubezki is made to look as though the whole movie is shot in one long take.  Although you can pretty much tell where the editing was done, that doesn’t make the camerawork any less stunning.

The screenplay by Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. and Armando Bo is endless with its laugh-inducing character interactions, especially those involving Keaton and Norton.  The childish, physical fight between the two is one of the funniest parts of the movie, and is also one of the ways that the film presents its clash between a Hollywood actor and a Broadway actor.

There is also a noticeable parallel between the character of Riggan and Keaton himself because they both gained much of their popularity by starring in superhero movies, with Riggan portraying Birdman and Keaton portraying Batman.  Seeing as the film is fictional, but includes some references to the Hollywood of today, it makes sense that the story has you think of a real-life actor and his similarity to the character he plays.

Iñárritu also crafts a very clever ending for the movie, and the ambiguous nature of it has the potential to spark some fun debates.  

As a director, Iñárritu shows a new skill in handling comedy, and also displays some talent with special effects as well, which is shown in one of Riggan’s daydream sequences.  

“Birdman” is another example that Iñárritu is a dependable source of ingenuity in cinema, which is evidenced by the fact that he worked with original screenplays for all five of his feature films.  This movie comes four years after Iñárritu’s last project, “Biutiful,” and hopefully, we don’t have to wait through another lengthy gap like that for his next movie because Hollywood needs more stories from an inventive filmmaker such as him.

Final grade: A

Launching Into Deep Space and Deeper Ideas

Thinking big is something that is a most welcome commonality throughout Christopher Nolan’s films.  With his original films, such as “Inception” and “Memento,” and his adaptations, such as his “Dark Knight” trilogy, he’s able to weave in grand ideas that can only come from a true filmmaker.  It’s still amazing how he went from a complex indie thriller to treating us to uncommonly complex blockbusters that encourage the viewer to be in deep thought throughout the experience, while still getting a terrific sense of enjoyment out of them.

In his sci-fi epic, “Interstellar,” he provides a detailed exploration of time and space.  Although the human story could have used some more work, there isn’t any denying the visual and intellectual ambitiousness of this movie.

In the near future, humanity is no longer able to inhabit the earth.  Crops are ruined by blight, dust storms frequent the land, and mankind has reverted to an agricultural society.  When former NASA test pilot-turned-farmer Cooper (Matthew McConaughey) is led to a secret NASA facility by mysterious coordinates, he meets Professor Brand (Michael Caine) and his daughter, Amelia (Anne Hathaway).  They reveal to Cooper a plan for him, Amelia and two other individuals to travel through a wormhole that has been discovered to be orbiting Saturn, which will bring them to a new galaxy in which there are a few planets that could possibly sustain human life.  With time running out, they will have to travel to these planets to find out which one provides the best chance for humanity.

Matthew McConaughey has showcased his surprising acting abilities in recent smaller films, such as last year’s “Dallas Buyers Club,” and now shows that he has the talent to carry a film as big as this.  Although it’s the type of role that several other actors could have played, it’s fun to see him headline an epic such as this, especially because of his growing commitment to reputable acting.

Although the other cast members, such as Anne Hathaway, Jessica Chastain and Michael Caine, get a dramatic moment here and there, Christopher and Jonathan Nolan’s screenplay mostly requires them to deliver exposition.  McConaughey has to do exposition as well, but at least he gets a sort-of emotional arc with his young daughter, Murph (Mackenzie Foy).  Yes, I do understand that a good amount of explanation is necessary, especially given the significant scientific ideas that this film tackles, and everyone does whatever they can with the material they’re given; I’m just saying that the Nolans could have added a little more scope to the human story.

The visuals are the true highlight of the film, and the cinematography by Hoyte van Hoytema gloriously frames the grandeur and vastness of outer space, so much so that this movie should be seen on the biggest screen possible, preferably IMAX.  One image out of many that terrifically captures the starlit abyss is when we see the main spacecraft merely viewed as a moving white dot flying past the gargantuan planet of Saturn. 

Many people have probably heard “Interstellar” being compared to “2001: A Space Odyssey.”  While both films have considerable differences in their actual stories, it’s the imagery of the two films that are equal in their impressiveness.  “2001” particularly comes to mind when the crew travels through the wormhole, and when Cooper passes the event horizon in the film’s last half hour.  With their strange beauty, these sequences call to mind the famous scene of Dr. David Bowman traveling through the vortex of colored light in “2001.”

The Nolans’ screenplay finds most of its strength in its presentation of considerable scientific ideas.  It’s important to pay close attention during the film, especially in the second half because there’s a lot that’s thrown at you.  It can get pretty overwhelming at times with the dialogues concerning time and space, but that’s a positive thing because of how much it gets you invested in the ideas that are encouraging this space exploration.  With how much the film has to offer in terms of making you think, you walk out of the movie feeling the same as you probably did after watching “Inception” or “Memento” for the first time.  After all, many of the best movie experiences are the ones that encourage you to use your head.

Director Christopher Nolan has one of the finest creative abilities for visuals in modern filmmaking, but what would have made this film even better is if he added more dramatic depth to his characters in order make the emotional stakes more present in the larger scope of the story.  He always assembles very talented performers, and he’s been able to make many of his films emotionally involving for his characters in the past, but he has to make sure to keep that ability consistent.  If he can always remember to do that, then I’ll always look forward to his upcoming films.

Final grade: B

Media Leeches and Their Desire for Grisly Stories

“If it bleeds, it leads.”  That’s on quote that I’m sure many people can use to describe today’s news culture.  Viewers’ appetite for stories involving death have disturbing implications as to where their interests are in the scope of current events.  Whether the story is focusing on a horrific car accident or a deadly home invasion, one thing that can be guessed is that many viewers won’t touch their remotes until such a story finishes on the news.

What is it with cameras becoming best friends with bloodshed?  Dan Gilroy makes his directorial debut with the broadcast-news thriller, “Nightcrawler,” in which he travels into the dark world of video journalism and brings us close to the uncomfortable invasiveness of certain on-site corespondents.

Louis Bloom (Jake Gyllenhaal) lives in Los Angeles, and is in desperate need of a job.  After some failed attempts to earn money, he eventually emerges into the field video reporting.  Equipped with a camcorder and radio scanner, Bloom tries to make his way to as many LA crime/accident scenes as possible.  As he begins selling his stories to a local news station, Bloom becomes more and more determined to impress his employers, and will do anything to beat his competitors to a story. 

Jake Gyllenhaal has always been a highly gifted actor, but he has had an especially notable run as of late, between his supporting gig in “Prisoners” a year ago, his lead role in “Enemy” back in the spring, and now his role as Louis Bloom.  Between these three movies, you can say that Gyllenhaal has experienced a superb period of thrillers, and with “Nightcrawler,” his character is easily the least likable of his more recent roles, but it’s a performance that’s endlessly fascinating to watch.  

We first see him as someone who’s rather strange, and maybe a bit socially inept, and it doesn’t seem like he has much interaction with the outside world.  As he starts to record his stories, it’s really something to see Gyllenhaal command the transition of his character rapidly going from being a newbie with a camera to an accomplished videographer, having tapped into a perverse talent he never knew he possessed.  Even when he first establishes his production business with his one and only employee, Rick (Riz Ahmed), his role as a boss who knows what he wants shows how much he intends to strive for the big leagues.

Rene Russo turns in a vigorous performance as Nina, the tough morning-news director whom Bloom works for.  Just like Bloom, she wants “something people can’t turn away from.”  The ruthlessness of her character is displayed in her insatiable hunger for news that will boost her show’s ratings, and her morals and ethics as a journalist are every bit as questionable and twisted as Bloom’s.

The scenes between Gyllenhaal and Russo burn with tension as he tries to use their professional relationship to become more than what he started out as.  There’s a scene in the film when the two are in the news station, and Bloom delivers a monologue where he tells Nina what he demands for his continued work with the station.  It’s a real moment of character growth that’s all caught in one take that allows us to deeply focus on him and absorb his every word.  

The screenplay by Dan Gilroy could have used a little more subtly in its message, but it’s still a very interesting critique on current video journalism.  It doesn’t hold back in showing how far some reporters will go to get the story they want, even if it means withholding information to make the story fit their intentions.

Seeing as Gyllenhaal’s character is always chasing stories, it would make sense to worry that the film would become repetitive, but this is certainly not the case.  With each crime/accident scene he barges in on, we learn more about the type of person he is and how easily he’s able to throw away his decency in order to impress his boss and further his career.

Gilroy’s story is also extremely voyeuristic in how it displays Bloom’s subjects being bombarded by his camera and watched from afar.  This causes certain sequences to be uncomfortable to watch, especially the home-invasion scene and the ending, but that makes them all the more potent in what the movie is trying to say.

“Nightcrawler” will make you think about what goes on behind the scenes in video journalism, and it may even change the way you watch the news.

Final grade: A-

The Saint From Next Door

It’s difficult to resist a humorous Bill Murray performance.  His expert, deadpan delivery of his dialogue makes him one of our finest comedic actors working today.  

It’s because of him that Theodore Melfi’s overly sentimental comedy, “St. Vincent,” is more tolerable than it deserves to be.  Ultimately, the performances are what keep this movie afloat, while the story itself is something we’ve all seen a few times before.

Vincent MacKenna (Murray) lives alone, drinks a lot, gambles and maintains a relationship with a Russian prostitute, Daka (Naomi Watts).  When his new neighbor, Maggie Bronstein (Melissa McCarthy), and her young son, Oliver (Jaeden Lieberher), move in next door to Vincent, they don’t get along at first, but after Maggie starts getting busy at her job, she needs someone to look after her son, and asks Vincent for his help, who reluctantly agrees.  As Vincent and Oliver begin to spend more time together, the two establish a bond and help each other grow.

In the role of Vincent, Bill Murray provides us with another witty character who makes us laugh from the beginning, but also provides a few dramatic moments as the film goes on that allow us to see why he tangles with his vices.  It’s mostly because of Murray that the movie somewhat works at all.

Melissa McCarthy’s performance, thankfully, isn’t another loud and obnoxious character.  Although that sort of shtick worked at first in “Bridesmaids,” it grew tired in her films that came later.  In this movie, McCarthy’s role as a hardworking mother shows that she’s able to do more than what we’ve been seeing in her films over the last few years.  This role shows that McCarthy can still be funny while taking a step back from her usual wild side.

Newcomer Jaeden Lieberher displays his acting skills admirably, and his ability to connect with Murray onscreen helps make the film’s common scenario watchable.

The screenplay by Theodore Melfi, although pretty comical in spots, uses the familiar story of a young boy befriending a cantankerous older man, in which you can see where the narrative is going to end up.  It’s really the lead performers who make this movie passable.  The film doesn't really add anything new to this concept, and pretty much coasts along on the capability of its cast.

“St. Vincent” is an okay diversion for fans of Bill Murray’s work, but his character deserved a better and funnier film.

Final grade: B-

A Tank That Serves as an Overseas Home

Two years ago, director David Ayer gave audiences a gritty and up-close-and-personal look at the Los Angeles Police Department in “End of Watch,” which was a dramatic and somewhat brutal look at one of our country’s largest police forces.  Before that, he brought us “Street Kings” and “Harsh Times,” and has written the screenplays for films such as “S.W.A.T.” and “Training Day.”  With these movies in his filmography, you can see that he has a tendency to focus on the heroes whose job it is to keep people safe.

Now, he brings us a movie about another kind of hero: the soldiers.  In Ayer’s new war film, “Fury,” he brings us to the battlefields of Germany during World War II.  Just like in his previous films, he shows us what it means to sacrifice everything to protect others.

In April 1945, the Allies make their last push into Nazi Germany in the final month of the European Theater during WWII.  Don “Wardaddy” Collier (Brad Pitt) commands a Sherman tank called “Fury” and it’s experienced five-man crew, which includes Boyd Swan (Shia LaBeouf), Grady Travis (Jon Bernthal) and Trini Garcia (Michael Peña).  After the group’s assistant driver dies in battle, Collier receives a newly enlisted typist, Norman Ellison (Logan Lerman), as a replacement.  During the group’s mission to capture certain German territories, the group will learn that there are still many horrors of war to come before it can ultimately end.

Just as Brad Pitt displayed in “Inglourious Basterds,” he really knows how to play a tough and demanding military leader.  With the way Pitt plays his character, you can clearly see Collier’s battle-hardened sensibilities and his desire to get the most out of the soldiers he leads.  He’s a father figure to those who are under his command and wants to do what he can to prepare his crew for the fights to come.  

Ever since I saw Logan Lerman in “The Perks of Being a Wallflower,” I’ve grown to appreciate him more as an actor.  He’s been maturing into a talented performer and his role requires him to give the most emotional performance of the film, and he accomplishes that task.  His character’s display of nervousness in being placed in the fields of battle for the first time serves as a way for us to imagine what all of those soldiers must have felt the first time they had to fight.  Although his character eventually gets used to killing his enemies, the scenes in which he struggles with the idea of doing so are some of the best in the film.

Despite the story placing a lot of focus on Pitt and Lerman’s characters, LaBeouf, Bernthal and Peña each get their own moments in the film that allow us to get an idea of the kind of people they are and how the war has affected them.

Despite a few war-movie cliches appearing here and there, David Ayer’s screenplay takes us on a harrowing wartime journey as we go on several missions with the tank’s crew as the intensity of the fighting increases.  There are a few battles during the movie, but they never become repetitive because they’re all staged differently, and in between these sequences, we are provided with moments that let the soldiers ruminate on what they are experiencing.

The story takes an interesting detour about halfway through that lasts around 20 minutes.  After the Allies take a German town, Don and Norman visit two women in an apartment and get to know them as people, not enemies.  During this scene, you see how the soldiers interact with the locals when there isn’t any fighting taking place.  It’s a break from the combat sequences that lets us see what these soldiers are like when they’re not in the middle of battle.

Director Ayer teams up again with “End of Watch” cinematographer Roman Vasyanav, and they use excellent camerawork to capture the chaos of war.  With the way the battle footage is shot, the two really give you a sense of the tremendous danger that the soldiers face in the film.

“Fury” brings you on a rather tough road, but Ayer makes it worth it with his evident admiration of real-world heroes.

Final grade: A-

An Anatomy of a Toxic Marriage

Think about how many wedded couples you’ve seen in film.  Think about how different and alike they were.  Think about how many stayed together and how many separated.  Movies have shown viewers countless marital bonds go through scenarios of varying details, but I don’t think any of them can compare to the craziness of cinema’s latest onscreen matrimony.

Director David Fincher’s twisted thriller, “Gone Girl,” which is based on Gillian Flynn’s 2012 bestselling novel, descends into the barbed-wire anti-romance of the book’s two main characters and creates one of the best and most faithful page-to-screen adaptations of today.

Nick Dunne (Ben Affleck) and his wife, Amy (Rosamund Pike), live in Missouri and have been married for five years, but not all of them have been happy.  On the day of their fifth anniversary, Nick returns home from work, but Amy isn’t anywhere to be found.  With the help of some local authorities, Nick begins a frantic search for his wife.  While under the mounting pressure of being seen as the prime suspect and trying to prove his innocence, Nick will also have to come to terms with what has caused his marriage to go horribly wrong.

While I still see Ben Affleck as a slightly better director than actor, his abilities on the latter have seemed to get better with each film he has appeared in over the last few years, and this performance stands as one of the best he’s done.  He expertly captures what the character of Nick is like in the book, everything from the cluelessness about his wife, to his uncomfortableness in being bombarded by the media, to his shock at what he finds out about Amy as the film progresses.  Throughout the movie, Affleck is able to present his character’s transition from being camera-shy to knowing how to make public opinion work in his favor, and it’s fascinating to watch.

In the case of Rosamund Pike, there isn’t any bigger star-making performance this year than her wildly brilliant turn as Nick’s enigmatic wife.  It’s a role that takes you into the depths of Amy’s mind as she narrates certain scenes through her diary entries.  Although narration can be seen as taking the easy way out to tell a film’s story, it’s needed here because of its bigger significance to her character later on.  What’s remarkable about her performance is how even when we see her on screen with her voiceover narration, her facial expressions are perfectly in tune with her words.  The scenes with her narration in the film’s first half are actually some of the best in the movie because of how alluring her voice is and its ability to draw you into her mysterious psyche.  I can’t say much else about her character without giving away some of the film’s surprises, but I will say that it’s a better portrayal of Amy than I could have hoped for.

Inhabiting Nick and Amy’s downward-spiraling lives are some interesting supporting characters: Amy’s sketchy ex-boyfriend Desi Collings (Neil Patrick Harris); Rhonda Boney (Kim Dickens), the dedicated detective leading the case; Tanner Bolt (Tyler Perry), the attorney who comes to Nick’s rescue; and Carrie Coon as Nick’s twin sister, Margo, a character who’s an example of what it’s like to be close to someone who’s caught in a media frenzy, and then beginning to get harassed by the press as well.

Gillian Flynn penned the screenplay, and she clearly had an idea of what to include in the film and what to leave out.  Sure, there are a few things missing, but she’s able to get around those absences in order to place an emphasis on what’s really important.  Everything that was essential in the book is there on the screen.

One of many things she does well with her script is the series of jumps between the perspectives of Nick and Amy, where we go back and forth from the events happening around Nick in the present and flashbacks that come from Amy’s diary entries.  It works every bit as well cinematically as it does in book form, and it’s intriguing to watch the two timelines eventually converge and ignite a startling chain of events.

Just like the novel, the big plot reveal comes when we’re only halfway through the movie, but Flynn manages to make it work in both cases because, unlike many other thrillers that have their twists and turns lead up to a reveal at the very end, this one manages to keep them coming even after we find out the main secret.

The book’s portrayal of the media also translates well into the movie with its depiction of performing for news cameras and showing media outlets jumping to conclusions, and this darkly humorous display gives a satirical jab at the matter in the film’s conclusion.

David Fincher is a consistent talent when it comes to making modern thrillers and was the perfect choice for this project.  Some of his other films, such as  “The Girl with the Dragon Tattoo,” “Zodiac” and “Seven,” all have a darkness to them, both photographically and story wise, that adds to the experience of watching something both disturbing and addictive.

Similar to his last two films, “TGWTDT” and “The Social Network,” Fincher collaborates with cinematographer Jeff Cronenweth, editor Kirk Baxter and composers Trent Reznor and Atticus Ross, and “Gone Girl” benefits just as much as the two aforementioned films.  The grouping of Fincher with these four individuals helps in creating the unnerving atmosphere that this film demands.

Even if you’re one of those who have read the book, the way in which Fincher constructs some of the film’s biggest moments will still have you in shock in what you’re watching.  With the blending of Cronenweth’s dark cinematography, Baxter’s meticulous editing, and Reznor and Ross’ deeply unsettling music, the film’s most important scenes will undoubtedly satisfy both those who have and have not read the book.

With “Gone Girl,” David Fincher opens the door to a crumbling marriage and gives us the chance to sort through the wreckage.

Final grade: A

A Brother and Sister Reconnect at the Lowest Point in Their Lives

Movies that focus on siblings can be very interesting to watch in how those characters interact with each other after being a part of each other’s life for so long.  Although watching friends display deep connections on screen can be just as engrossing, there’s the factor of being blood-related that adds something a little more to the story a film’s siblings share.

In Craig Johnson’s bittersweet drama, “The Skeleton Twins,” he explores the unfulfilled lives of a brother and sister as unexpected circumstances bring them together.  In a film that’s emotional and a bit melancholy, yet occasionally humorous and hopeful, Johnson succeeds in making a movie that depends on its two leads to come out of their comfort zones.

Milo (Bill Hader) is a struggling actor who lives in California.  When he ends up in the hospital after a failed suicide attempt, his sister, Maggie (Kristen Wiig), whom he hasn’t seen in 10 years, takes him to New York to live with her and her husband, Lance (Luke Wilson), until he gets back on his feet.  During Milo’s stay, he and Maggie will begin to reexamine their sibling relationship and try to repair the damage in their lives.

It’s interesting and fresh to watch traditionally comedic actors take on dramatic roles, and Wiig and Hader handle that transition perfectly, just like their fellow “Saturday Night Live” alum Will Forte did in last year’s “Nebraska.”  Wiig and Hader provide heart-rending scenes that I wouldn’t have ever expected to see them do in their careers, but they perform them so well that it looks as though they have been playing dramatic roles for longer than they have.  They do, however, produce some funny moments every so often to break the stress that their characters are feeling.

After performing together on “SNL” for several years, the two clearly have enough of a connection to carry a movie.  Having them play brother and sister is a terrific way to show their ongoing ability to act together.  You can feel every bit of love and tension that goes between them.  

The two of them sink so deeply into these damaged characters that it’s easier than expected to take their previous comedic performances out of your mind and appreciate the new territory that the two are exploring with their acting talents.  

Ty Burrell, who is best known for playing Phil Dunphy on the television sitcom, “Modern Family,” also triumphs in changing over to a more dramatic character, his role being someone who shares a troubling connection to Milo’s past.  Although Wiig and Hader have a comical moment here and there, Burrell’s role has him completely shed his hilariously goofy persona for something much different. 

The screenplay by Craig Johnson and Mark Heyman crafts one of the most emotional sibling relationships I’ve seen on film in several years.  They’ve constructed a brother-sister pairing that has the two needing to fix their own problems and help in fixing those of the other.  Although they try to assist each other, they both seem to get into more trouble then they’re getting out of, and this helps in keeping the audience invested in where this sibling bond is headed.

Director Johnson doesn’t allow for the film’s emotion to become too cloying, but rather has it remain true to what the main characters are experiencing.  He places his two leads in a story that allows them to fully display unfamiliar dramatic talents, and steps back as they confidently propel the story forward with the unbreakable bond they share while performing.  Wiig and Hader might as well be siblings in real life.

Final grade: A

A Utopia That’s Not As Perfect As It Seems

Readers have been waiting quite a while for Lois Lowry’s 1993 novel, “The Giver,” to get adapted for the big screen.  When I read it for the first time in seventh grade, it became one of my favorite books that I read in the classroom.  Although I didn’t think too much about it being a movie back then, I’ve thought over the past few years that the novel could make for an interesting one.  I just recently reread the novel in preparation for the movie, but I wasn’t sure if the movie could live up to what I got out of the book.

Unfortunately, as I predicted, the film has many shortcomings.  Directed by Phillip Noyce, “The Giver” has a few noteworthy elements, but the way the rest of the story and characters are handled doesn’t make this movie worthy of the wait.

After certain catastrophes brought ruin to the world, a futuristic society has gotten rid of elements that create differences, such as colors, race, religion and emotions, and all memories of the past have been erased.  Everyone has conformed to a life of sameness.

In this society, Jonas (Brenton Thwaites) is nervous about the upcoming ceremony that will give his age group their lifetime assignments.  At the ceremony, he’s surprised to find out that he will be the next Receiver of Memory, a position that requires him to meet with The Giver (Jeff Bridges), who will provide Jonas with memories of the past that will help him learn what life used to be like many years ago, memories that will also be used to give the Elders guidance when facing uncertainty.  After several sessions with the Giver, Jonas will come to question the quality of life within the community and whether or not it was right for its inhabitants to be placed in a life of sameness.

At the start of the film, Brenton Thwaites displays the youthful curiosity that I expected in the character of Jonas, and I thought he’d be passable in the role.  As the film goes on, however, he doesn’t provide the intense emotion that should be shown in the film’s bigger scenes, particularly  the one where he discovers a grim responsibility that his father’s job entails.  If you read the book, you’ll know the scene to which I’m referring.

One of the few things that saves this film is the casting of Jeff Bridges as The Giver.  Bridges imbues his role with the demeanor of a person with extensive wisdom, and that’s exactly what the character needs.  As an individual who knows what the world used to be like, Bridges expertly shows The Giver as someone burdened by what he’s been keeping bottled up.

Meryl Streep appears as the community’s Chief Elder, a character that’s needlessly extended for the film.  Being one of the most talented actresses to ever work in movies, this is a role that seems to be below someone of her abilities.  Throughout the movie, she’s given almost nothing to do other than be the typical menacing authority figure for the protagonist to rebel against, just like what audiences have seen in recent young-adult adaptations.

Some of the film’s limited praiseworthiness comes with Ross Emery’s cinematography, which, along with Bridges’ performance, is one of the film’s only laudable factors.  The first 20-25 minutes are all photographed in black and white to give the audience a better idea of the community’s sameness.  Once Jonas begins to receive memories, the colors gradually become more prominent, but just in the scenes involving him because he’s the only one, besides The Giver, who can see in color, while the scenes without him remain in black and white.  This all helps to emphasize the gift that grants Jonas a sense of individuality.

Although the film is based on a children’s novel, the screenplay by Michael Mitnick and Robert B. Weide makes some alterations which, if I had to guess, are meant to cash in on the popularity of current young-adult fiction.  Some of these differences include changing the ages of Jonas and his friends from 12 to what looks to be between 16 and 18, unnecessarily drawing out the relationship shared by Jonas and his love interest, Fiona (Odeya Rush), so to meet the teen-romance quota, and the expanded presence of the aforementioned Chief Elder character.  The focus that’s placed on these aspects of the film takes away from what could have been more time dedicated to interactions between Jonas and The Giver; not that there wasn’t enough of it, but a little more certainly wouldn’t have hurt.

Director Phillip Noyce injects some artfulness into the film with Jeff Bridges’ performance, the cinematography and set design, but it’s the story and most of the other interpretations of the characters that seem to hold him back.  I feel as though he did as well as he could with the material he had, but might have been able to do even better if he was given a screenplay that was more faithful to the book.  Using such a script, along with the few things that ended up working for the film, would have probably resulted in an adaptation that matched the source material’s powerful narrative.  

If you want to experience this story in the best way possible, get swept away in the pages of the novel instead.

Final grade: C

Bartending While Dealing with Past Sins

When brought to seedy, crime-ridden territories in film, what’s interesting is how repulsive, yet intriguing they can be for the viewer.  Michaël R. Roskam’s crime drama, “The Drop,” has the audience visit these undesirable places that are wrapped up in the shadowy workings of organized crime, capturing the dirty and dangerous dealings of everyone involved.

In the Brooklyn area, several bars are used as “drops,” where money is delivered, and then picked up by local crime rings.  Bob Saginowski (Tom Hardy) and his older cousin, Marv (James Gandolfini), work at one such bar, which used to be owned by the latter, but is know “owned” by a group of gangsters.  One night during closing, a pair of masked men enter the bar and rob it.  When the bar’s “owner” and his crew find out that it was their money that was stolen, the two cousins try to figure out a way to get it back, while also dealing with a police investigation that threatens to disclose some of the community’s biggest secrets.

Tom Hardy has really established himself as a commendable leading man in film.  As a character who is involved in relationships with gangsters, but trying to make his life more honorable at the same time, Hardy shows the conflicted nature of Bob.  The character is trying to develop himself into a softer soul, but is still battling his hardened past as someone who used to want the rough life of crime, and Hardy expertly plays both sides of this role so we know the kind of person he is now, and who he once was.

James Gandolfini, in his final film performance before his passing last year, gives us something a little different in his tough-guy repertoire than what we’re normally used to seeing.  Having played mafioso Tony Soprano on “The Sopranos” for almost a decade, you can’t help but think of Gandolfini playing characters who have an intimidating presence.  In this film, however, it’s interesting to watch how restrained that persona is.  Considering that Gandolfini plays a character who used to be respected and feared in his neighborhood, this downplaying of toughness fits very well with Marv’s insecurities.  It gives audiences the opportunity to see a different side to a type of character that Gandolfini became known for playing. 

Noomi Rapace, who plays Bob’s love interest, Nadia, displays her talent admirably, despite the way her role is written.  Although she does adequate work in her scenes with Hardy, her character pretty much doesn’t become more than a crime-drama girl-in-distress near the end.

The screenplay by Dennis Lehane, which is his first and is based on his short story, “Animal Rescue,” is another addition to his works that include descents into modern hellish environments.  We’ve seen these kinds of backdrops in film adaptations of his novels, such as Martin Scorsese’s “Shutter Island,” Ben Affleck’s “Gone Baby Gone” and Clint Eastwood’s “Mystic River,” movies that display their sordid settings in suitably gritty detail, and “The Drop” succeeds in bringing that same atmosphere to its story.

Just like Lehane’s other works, the narrative leaves you with certain aspects that are open for interpretation, encouraging you to ask questions after the film ends, and it may even benefit from a second viewing.  Throughout the film, it becomes more and more interesting as you try and figure out the characters’ motives and whose side everyone is on.  The screenplay has a couple of flaws, but this was an acceptable first effort by Lehane for screenwriting, and if he writes another screenplay in the future, I’m sure he will be able to pen another intricate, crime-focused story.

Director Michaël R. Roskam can now be added to the list of directors who have competently adapted Lehane’s works for film.  Despite the movie not ranking quite as high as other films based on Lehane’s stories, Roskam is able to stage scenes of heated tension that are a staple of Lehane’s narratives.  Roskam’s understanding of a tale about a man who’s trying to redeem himself from his dark history and his cousin who’s trying to hold onto whatever little respect and fear he has left from those in his community is what gives the film its impact.

Lehane’s stories have secrets woven into them that beg to be found out, and that’s what you can expect from “The Drop.”

Final grade: B+