"Snowden" Review
I’m not quite sure if Joseph Gordon-Levitt is purposefully taking biopic roles in which a documentary of the same subject comes out prior (Snowden is to Citizenfour as The Walk is to Man on Wire) and covers it better or it’s pure coincidence. Either way, in both instances he’s fully committed to the role. While Snowden has great moments, there are a lot of deflated scenes that string them together.
The film starts with Edward Snowden (Joseph Gordon-Levitt) in training to become a member of the Special Forces in the US Army. After breaking his legs, he’s not able to complete training and eventually joins the CIA. From there the film quickly journeys into Snowden’s rise in the intelligence community. He’s a brilliant programmer who catches the eye of Linsay Mills (Shailene Woodley) along the way.
As Snowden’s clearance levels expand, he starts to notice programs that encroach on privacy of people. His moral compass keeps him on the straight and narrow, while many around him either turn a blind eye or have suffered the wrath of speaking up. Hank Forrester (Nicolas Cage) is one of those mentors, banished to what looks like a high school science/computer lab in the CIA, who serve as a visual as to what happens to those who don’t play by the rules.
With the decision to be quiet or speak in front of him, Snowden chooses to contact documentary filmmaker Laura Poitras (Melissa Leo) and journalist Glenn Greenwald (Zachary Quinto) to wisely set up a meet in a hotel room in China to give the truth before the media machine can shut him down. This part of the film is where the documentary Citizenfour centered and covered beautifully. Here, it’s not unveiled as smoothly.
Let it be known that Joseph Gordon-Levitt wears Snowden on his shoulders like a rucksack and fights to carry it toward being a film worth seeing. He executes the role with a laser-like focus and care for the character and telling his story. Quinto and Poitras give poignant performances that add to the weight of Snowden’s decision to come forward. Unfortunately, Woodley’s Linsay is forgettable, a character piece placed in the film for conflict with the main character. The pacing of the film, jumping through time, checks off the biopic “must cover” list and director Oliver Stone is able to create the sense of pure paranoia that one would expect to feel in going against the most powerful country in the world.
I don’t think a based on a true story was necessary, and its message is muddled in explaining counter surveillance at times. However, Stone’s film does not shy away from promoting real life document leaker Edward Snowden as an American hero who should be commended, not chastised. Unfortunately, it’s in its slant that the ability to judge for yourself is lost. Which probably wasn’t necessary, because by the end of the first act you already want to turn off your phone and cover your webcam. Excuse me as I close my laptop!
Rating: B-
"The Night Before" Review
Deck the halls with weed and mushrooms, Fa-la-la-la-la, la-la cocaine.
That’s pretty much the mindset that this film occupies. Combine a Christmas movie with a stoner movie and you’ll get The Night Before, the latest comedy starring Seth Rogen. Those who have seen Rogen’s past efforts (This is the End, Neighbors, The Interview) are well aware of what to expect by this point: vulgar humor, pop culture references, and a laid-back, improvisational approach to storytelling. The Night Before is no exception, and whether that’s a good or bad thing is entirely dependent upon the viewer’s tolerance for that sort of thing.
Me? I laughed when I saw it, in spite of myself. The Night Before is equal parts naughty and nice, relishing its raunchiness while pausing for sobering, heartfelt moments as well. This is a film about friendship, forgiveness, growing up, and the spirit of Christmas… that also features a scene in which Rogen, wearing a sweater bearing the Star of David, vomits in the middle of a church during Christmas Eve service.
The film concerns three childhood friends—Ethan (Joseph Gordon-Levitt), Chris (Anthony Mackie), and Isaac (Rogen)—who are on the cusp of some big changes in their lives. Before adulthood claims their freedom to party forever, they gather on Christmas Eve for one last night of bacchanalian shenanigans. On a quest to find the Christmas party to end all Christmas parties, they traverse from one outrageous set piece to the next. This is not so much a story as it is a collection of things that happen.
Like with all Rogen comedies, the sheer level of talent assembled is impressive. In addition to the believable chemistry and snappy banter of the three leads, there are also hysterical supporting turns from actresses Jillian Bell (22 Jump Street) and Mindy Kaling (The Office), who often overshadow their male costars with their radiant comedic timing. But the most brilliant—and surprising—comic performance of the film comes from Michael Shannon (yes, General Zod from Man of Steel) as the mysterious marijuana dealer Mr. Green. He runs away with the film.
But too often the humor relies on lazy pop culture references and random celebrity cameos that will date the movie instantly. Miley Cyrus appears in one scene. What’s the joke? I guess it’s meant to be funny because she’s there. Or is there irony in the way the characters lay the praise on thick by saying things like “Miley Cyrus is so amazing! Isn’t her song ‘Wrecking Ball’ timeless?”
It’s unnecessary detours like these that take precious screen time away from our heroes and grind the film’s momentum to a halt. Had the script stayed focused a bit more on its central characters, I would have found myself caring if Ethan gets the girl or if Isaac learns to be a responsible father or if Chris becomes less of an egotistical jerk.
But perhaps I’m being a bit of a Scrooge. People don’t go to a film like The Night Before looking for well-developed characters or a polished script. They go to laugh. And when Christmas brings us such lumps of coal as Jingle All the Way, Deck the Halls, and Christmas with the Kranks, we can be thankful that The Night Before is as funny and warmhearted as it is. After all, isn’t being thankful what the holidays are all about?
Grade: B-
"Sin City: A Dame to Kill For" Review
A picture is worth a thousand words, and visual storytelling doesn’t get too much better than “Sin City: A Dame To Kill For”. The only issue is that the film can’t rely on its' visuals alone. The plot makes this second installment inferior to the first.
There are three main stories throughout the film that are connected with a thin thread in a huge man named Marv (Mickey Rourke). Marv is a sadistic character who one look at his face tells you he’s been through plenty of battles, and doesn’t mind taking on the next one. This makes Marv the perfect muscle for Dwight (Josh Brolin), who after being enchanted by former flame and femme fatale Ava Lord (Eva Green) to kill her husband for her, is in need of a little payback. This story is the most developed of the three and also has the most violence and misogyny throughout. Where Marv and Dwight let their fists or weapons do the talking for them, Eva Green spends half of her screen time topless or naked and uses her body as a weapon. It’s this dichotomy of men being cavemen and women being conquests or eye candy that makes the movie fall short of imitating classic film noir. Where it wins on the film noir style, it fails miserably in class.
The second story which gets far too little time is that of Johnny (Joseph Gordon-Levitt), a cocky gambler who is looking to take on the city’s crime boss Roark (Powers Boothe). Levitt has the swag and handsome face that’s perfect for a role like this. It’s unfortunate that he gets just enough screen time for you to remember the character, but wish there was more. In fact, the abrupt ending to the storyline caused a gasp in the theater.
The final story is scraps left for the dog. It follows stripper Nancy Callahan (Jessica Alba), distraught from the death of John Hartigan (Bruce Willis), and trying to work the nerve to pull the trigger on Roark to avenge John. This story is a lot like Nancy, sloppy and all over the place. Once again Alba dances as a random plot point, not pushing the story forward, until directors Frank Miller and Robert Rodriguez decide it’s time to wrap the movie up.
Sin City is a one note town that’s fueled by men’s needs to solve problems with uber-violence, a stiff drink, and a hot dame. Miller and Rodriguez understand and nail the power of the aesthetics that can be seen in a single frame. The story and plot to this sequel may have needed to go back to the drawing board though.
Rating: C
Premium Rush
In a year when Joseph Gordon Levitt has been in “The Dark Knight”, “Looper”, and "Lincoln”, “Premium Rush” had to have been his fun paycheck. A movie in which his physical caliber was put to the test, “Premium Rush” is no magnum opus, but it’s a literal thrill ride through the streets of New York City.
Levitt plays Wilee, an adrenaline junkee who would rather cycle with no breaks than finish law school. Upon the opening ten minutes of the film, it seems that we’ll be in for a cheese fest with bad CGI. After a routine package pickup, Wilee soon discovers that the letter sized envelope he’s carrying may be worth more than he bargained for as a dirty cop chases him through the city. A “French Connection”-like chase of bike versus car ensues and the rush begins.
Michael Shannon plays Bobby Monday, the corrupt cop who needs to clear his gambling debts. Intercepting the package means repaying his debt and saving his life. While the delivery of the package to the rightful place means Nima (Jamie Chung), its rightful owner, can have her son brought in from China.
As the movie pulses forward, Wilee calls on the help of fellow riders Vanessa (Dania Ramirez) and Manny (Wole Parks). Each biker brings their own set of skills to the table as they zip around curves, up ramps, over cars, and do all kind of maneuvers we could only dream of doing.
Director David Koepp delivers a well paced, visually stunning film that puts the viewer in the rider’s seat. The non-linear style of editing does what every film should do, leave the audience wanting to know the answer to a question. What’s in the package? Why is it so valuable? Will our hero survive?
Even though the ending is typical, the film is fun. Ultimately, it’s nothing but a good time on two wheels.
B
Dark Knight Rises
Trilogies rarely stay consistently solid, increasingly entertaining films. In fact, most tend to go from great to poor. With Christopher Nolan’s “Dark Knight Rises”, a glimmer of light shines in a dark world of third installments. This is how you end a series!
The film starts as a moving train going slow enough for you to jump on, but steadily moving forward so you can’t think twice. Picking up eight years after the death of Harvey Dent, Gotham is a city of peace and fat cats. The film’s main characters are introduced to us quickly. Tom Hardy’s Bane is a hulking terrorist, with a vader-like voice, and chilling controlled intensity. He’s the embodiment of everything we fear about terrorism, the lack of conscience, focus on achieving a goal at any means, and a disregard for order. In a suspenseful extraction scene, Bane and his henchman take a doctor for a reason we’re waiting to have solved, and it’s off to the races to put the puzzle together.
A shell of his former self, we first see Bruce Wayne (Christian Bale) in a silhouette, blanketed by night itself, with a can in hand at a dinner gala. When I first saw the photos of Anne Hathaway as Catwoman, I had my doubts. However, Ms. Hathaway prances into her role as Selena Kyle with confidence and earnestness. Taking the role to a different height mixing femininity and sass in just the right way. When Bruce and Selena meet the chemistry is apparent and makes for a fun tango throughout the rest of the film.
With the evil on the horizon, Bruce’s father figure Alfred (Michael Caine), tries to be the mirror of wisdom and knowledge for Bruce. It’s a conversation with orphan turned cop, Officer Blake (Joseph Gordon Levitt) that puts wind to the low burning ember that is Batman. When the Bat returns to Gotham, the spectacle that we all want to see from the franchise is turned on with a chase scene through the city. One character says “You’re in for a show tonight son”, as Batman wizzes by in our first glimpse of caped crusader.
From there it’s off to the races as our hero must defeat a seemingly unstoppable villain bent on the destruction of Gotham. Nolan’s pacing of the film is superb as we jump from action to dramatic scenes. The Bane vs. Batman fight is what every fan boy waited for, suspenseful, dramatic, and action packed. As Bane schools the Bat like Apollo Creed did Rocky, the back break is like an act break, marking the dawn of a new Gotham.
As Gotham is plunged into anarchy, all hope seems lost as evil slowly takes over. Innocence in the voice of a young boy singing the national anthem is blended in a montage of explosions going off around the city. The city’s terrorist watches from the sideline and seems to delight in inflicting pain on the community at large. In an almost ominous montage of Gotham City’s finest rushing into the sewer to thwart off evil, only for the city above to come crashing down on them, as if it’s Nolan’s nod to 911 and our current fights with terrorist acts in the real.
The movie’s statement on good versus evil, terrorism, economic collapse and truth are noticable but not over the top. In fact, truth seems to be the thing that each character is searching for throughout the film. Whether it’s Kyle’s desire for a clean slate to stop living lies, Commissioner Gordon’s wrestling with telling the truth about Harvey Dent, or Bruce coming to grips with his fear of letting go of the past. Every character has some vulnerability and inner discovery that they have to find. That’s what makes Nolan’s take on the franchise great. He understands what makes Batman a great hero. The fact that a mortal man can become more, and fight for truth
The movie’s final thirty minutes puts a nice ribbon on the series. Leaving room for spinoffs while concluding the series, Nolan can walk away with his head held high. My only gripe is that Bane’s persona takes somewhat of a nose dive in the wrap up. There are more than a few plot holes throughout the film that have to be overlooked, but they’re not big enough to fall through.
The “Dark Knight Rises” may be the weakest of the three films in the trilogy, but after establishing the new take on Batman, and Heath Ledger’s legendary performance, the stakes were high. Even so, Nolan delivered an outstanding end to the Caped Crusader’s reign.
A