Girl Week 2020: The Quick and Dirties

Interstellar

The Dellies - 2012 Best Supporting Actress

For this next category, you'll find that this is where I'm probably most divergent from the Academy's thinking. That's mainly because I slid two of the nominees over to the Best Actress category, as I explained in that post, and dropped another out of the running. Hey, I did say these were my awards, right? Anyhoo, on with the show...

2012 Best Supporting Actress

The Real Nominees: Amy Adams (The Master), Sally Field (Lincoln), Anne Hathaway (Les Miserables), Helen Hunt (The Sessions), Jacki Weaver (Silver Linings Playbook)

My Nominees:

Gina Gershon, Killer Joe

Gina Gershon is thoroughly skanky. She's practically the epitome of trailer trash royalty.

Anne Hathaway, Les Miserables

We get a wonderful turn by Anne Hathaway. In just a handful of scenes, she gives us a gut-wrenching few minutes of screen time.

Charlize Theron, Snow White and the Huntsman

She seethes, hisses and vampirically gains strength by literally draining it from others. Like the bloodsucker, she earns both our dread and the pity we reserve for one whose seemingly boundless power is really fueled by a fatal flaw.

Jacki Weaver, Silver Linings Playbook

Weaver does an excellent job conveying her character’s raggedness from being pulled to and fro. She tries to do right by everyone and often winds up little more than an enabler.

Rebel Wilson, Pitch Perfect

A sizable share of the movie’s funniest moments are hers. Her timing is rock solid and she has charisma to spare.


Honorable Mention
Samantha Barks, Les Miserables
Ann Dowd, Compliance
Carmen Ejogo, Sparkle
America Ferrera, End of Watch
Maggie Smith, The Best Exotic Marigold Hotel


The Real Winner: Anne Hathaway, Les Miserables

And My Winner Is...

Rebel Wilson, Pitch Perfect

This might be the best comedic performance of the last few years including 2011’s Oscar nominated turn by Melissa McCarthy in Bridesmaids.

Click Here for the Rest of the Dellies!

Les Misérables

Directed by Tom Hooper.

2012. Rated PG-13, 158 minutes.

Cast:

Hugh Jackman

Russell Crowe

Anne Hathaway

Amanda Seyfried

Eddie Redmayne

Helena Bonham Carter

Sacha Baron-Cohen

Samantha Barks

Aaron Tveit

Daniel Huttlestone

Cavin Cornwall

Let’s start with a little personal history. Somehow, in all my years, I've never seen any sort of production of Les Misérables, not even part of one. I've also managed to remain completely ignorant of its plot. The only two things I know about it going in are that it’s a musical and it is legendary in the theater world. Without any other point of reference, I’m free to judge this on its own merits without comparing it to what was done on the stage.

On another personal note, my family refused to watch with me. These are the same people that get excited over the mention of Mamma Mia!, High School Musical, and the remakes of Fame, and Sparkle. This doesn't even include all the dance movies they watch over and over…and over. When I mention this, my oldest daughter sums up their collective anguish at the notion of taking in Les Mis when she twists her face into a pained look and says “Yeah, but this is…like opera or something.” With that, they scatter about the house leaving me alone with my virginal perspective on this old tale. Play.

A couple decades after The French Revolution, we meet Jean Valjean (Jackman). He is among a group of chained inmates charged with manually pulling a rather large ship into port. This difficult task is made even more so by the fact that they’re singing as they work. Hey, I am watching a musical…like opera or something. So yes, 99.9% of the dialogue is sang, but I digress. Valjean has been locked up for nineteen years for stealing a loaf of bread. Immediately following the boat scene, he’s finally granted parole.

However, he remains on probation and must report to his parole officer every so often. Pissed at the notion, he tears up his freedom papers, violates his probation by never reporting, and goes on the run. He becomes such a model citizen that when we skip ahead eight years, he is now the beloved mayor of a small town, under a different name of course. Sure enough, his old warden Javert (Crowe) is after him, forcing him to go on the run again. The difference this time is that he has also vowed to care for the daughter of Fantine (Hathaway), a young female employee at the local sweat shop who dies with no one to provide for her offspring. From this point forward, the movie is essentially a cat-and-mouse between the two men.

The first thing we notice is the look of the movie. The opening scene is flat out stunning. Even though the rest of the film doesn't quite measure up to first impressions, it’s a wonderful rendering of what France may have looked like at the time. No shots of snooty folk sipping wine at an outdoor restaurant with the Eiffel Tower in the background. This is a place that is rotting from the inside. Its core has gone bad. What we see is a perfect representation of the country’s political climate.

Next, we notice the startling first shot of Hugh Jackman. With a long scraggly beard and seven layers of dirt on seemingly every inch of him he quickly dispels our preconceived notions. The last time we see him this way, his first big solo, is an amazing moment. The rest of his performance doesn't disappoint, either. He’s just plain good. In fact, he’s better than good. I know he did a lot of theater before hitting it big on the silver screen. The experience shows. His emotions bubble to the surface, compelling us to watch. It’s not until after the movie that we realize we just saw Wolverine singing…like opera or something.  

Aside from our hero, we get a wonderful turn by Anne Hathaway, in just a few scenes. She gives us a gut-wrenching few minutes of screen time. There is also a rather fun performance by our comic relief, the duo of Sacha Baron-Cohen and Helena Bonham Carter. They provide the movie with a sorely needed element of playfulness even though the tandem combines to form the movie’s secondary villain. In what’s become an overlooked portrayal, perhaps due to the sheer bigness of the other names in the cast, Samantha Barks is also very good. I’m not completely sold on the crooning Russell Crowe, but he doesn't embarrass himself.

Story-wise, the movie holds together fairly well, but strains its own credibility in a few places. First, the warring between France’s citizens and its government is built up to be of supreme importance, as it should be, but then revealed to be merely a backdrop for the romance of Cosette (Seyfried) and Marius (Redmayne). It feels like rebellion was only a trivial pursuit for him that didn't go so well. Worse, I don’t believe one second of this romance to begin with. Sure, I can make allowances for love at first sight in movies, but this feels especially under baked. The whole thing is too sudden and they’re too immediately overwhelmed by the other. It’s reminiscent of what happens when Romeo meets Juliet, but without any of the same weight. It’s clearly a subplot, but pushed out front as if it is what we should be focusing on. I've no clue whether or not this works on stage. Here, I couldn't quite be convinced.

My lack of belief in the blossoming love of the couple in question leaves the core of the last few scenes a bit hollow for me. Fortunately, Jackman pulls me back in with his final number. It’s a fitting close to the story. This man who has been through so much finally appears too tired to continue. Since he is the reason we watch, it’s only right that he sends us off with one last heartfelt song. When that song ends we have what is, in my opinion, the best musical in several years, probably since the terrifically morbid Sweeney Todd: The Demon Barber of Fleet Street. It’s certainly the best of a strangely crowded field. That said, if musicals aren't your thing, steer clear. After all, it’s…like opera or something.

Ranking the Batman Movies: #7

7. The Dark Knight Rises

(2012)

Directed by Christopher Nolan

Batman…Christian Bale

James Gordon…Gary Oldman

Alfred…Michael Caine

Lucius Fox…Morgan Freeman

John Blake…Joseph Gordon-Levitt

Catwoman…Anne Hathaway

Bane…Tom Hardy

The Scarecrow…Cillian Murphy

Miranda Tate…Marion Cotillard

The final chapter in Christopher Nolan’s Dark Knight trilogy is probably the most gorgeous Batman movie ever made. It’s arguably the darkest themed, also. A terrorist named Bane (Hardy) comes to Gotham and destroys the city from a socio-political standpoint while he simultaneously threatens to physically destroy it by detonating a nuke within the city limits. While we may shrink in our seats a little further each time our beloved Gotham, as well as Batman himself, takes another hit we can’t turn away. Christian Bale may have solidified his place as the best Batman of all time with his best performance in the role. The same goes for Michael Caine, easily the best Alfred there’s ever been. Anne Hathaway has also earned mighty praise for her work as Catwoman. The Dark Knight’s fights with Bane are insanely tense. Yes, there’s a lot of “best ever in a Batman movie” stuff going on. However, some narrative issues in Act 3 keep this from “rising” any further on the list.

The Dark Knight Rises

Directed by Christopher Nolan.

2012. Rated PG-13, 165 minutes.
Cast:
Christian Bale
Tom Hardy
Anne Hathaway
Michael Caine
Morgan Freeman
Joseph Gordon-Levitt
Marion Cotillard
Matthew Modine
Liam Neeson
Cillian Murphy

Billionaire Bruce Wayne (Bale) has retired from life just as his alter-ego, Batman, has bowed out of the crime-fighting arena. For the last eight years he’s been a recluse, relegating himself to the east wing of Wayne Manor with no human contact other than his trusty butler Alfred (Caine). It’s just as well since Batman is wanted for the murder of Harvey Dent. If this is a surprise to you, please watch both Batman Begins and The Dark Knight before reading any further. Anyhoo, the Caped Crusader is forced back into action when the mercenary known as Bane (Hardy) threatens to destroy Gotham City.

One of the things that happens to movie franchises is that by the third movie, the spectacle overwhelms the story. The scope expands beyond its breaking point. Throngs of new characters are introduced, convoluting an already weak tale. Special fx substitutes for substance. Often, all of this coincides with a shift in tone to make things overly cartoonish. In short, the focus becomes being bigger than the previous movies, not continuing its saga. The Dark Knight Rises falls victim to some of these things and manages to avoid others.

To help TDKR stay above the fray littered with failed third installments is another splendid villain. A seemingly indomitable foe for our hero creates tension, keeps us on the edge of our seats. Bane gives us this, perhaps even more than The Joker did in the last movie because, unlike the Clown Prince, we fear he is physically superior to Batman. This is in addition to possessing the same maniacal passion to blow Gotham to smithereens. Tom Hardy gives us a menacing performance in the role, both aided and hindered by the mask that covers most of his face. With that and his bulky physique he’s simply intimidating to gaze upon. In action, he just as much, seeming to dwarf our hero in both height and width and the ability to put both to good use. The problem is the mask is equipped with a Vader-esque voice-box that lacks the clarity of having James Earl Jones voice the dialogue, occasionally making it difficult to understand what he’s saying.

As for Batman himself, he’s ever the tortured soul. Life without his beloved Rachel (again, watch the first two movies) and also without the cape and cowl has proven to be a struggle. It’s the most interesting the character has been and Bale gives his best performance in the series. However, donning the costume again may not be the best thing for Bruce. It also strains his relationship with his oldest and best friend Alfred. Alfred wants nothing more for Bruce than a happy ending. He realizes this might be an unattainable goal. Michael Caine plays the role superbly. The most touching scenes in the film are of him pleading with Bruce to find a better way than constantly putting himself in harm’s way.

Alas, there is plenty of spectacle and a number of newcomers. Aside from Bane, the main newbies Selina Kyle AKA, but never actually called Catwoman (Hathaway), Miranda Tate (Cotillard) who may be able to save Wayne Enterprises from financial ruin and young police officer John Blake (Gordon-Levitt). The handling of Selina Kyle is perhaps most interesting. She’s much less a villain than she is simply selfish and connected to all the wrong people. Unfortunately, the sparks needed to make some things towards the end work just aren’t there. Their relationship is much more reminiscent of a father and his adult daughter than two people sexually attracted to one another. Regardless of what she does dad, or Batman in this case, is there to show how much he believes in her. By itself that would be fine, but it renders the shift that takes place between them unbelievable and forced, even if predictable. When you add in all that’s going on with Wayne Enterprises’ board of directors, a romance with Miranda Tate, following around John Blake for long stretches and the movie can begin to feel a bit cluttered.

The spectacle is handled in magical fashion. The easiest thing to point out is Batman’s newest toy, an aircraft creator Lucius Fox (Freeman) simply dubs The Bat. It’s an oddly shaped flying machine, but still more plausible than the giant flying aircraft carrier in The Avengers. Whenever it appears it takes center stage. However, the eye-popper is Gotham herself. One of the greatest strengths of Nolan’s trilogy is making the city a living, breathing character. She is Bruce Wayne’s true love. She is our damsel in distress. The cinematography exploring, exploiting and damaging her is amazing.

Though very exciting and containing most of the action, the last third of TDKR is a point of contention with me. Timelines become incoherent, plotholes pop up in droves and the last minute or two feels like a bit of a copout. This is completely understandable since TDKR is intended to be the last Batman movie Nolan will helm. I don’t think he wanted to upset too many folks on his way out the door. However, the previous movie in the franchise, along with his other movies like Memento and Inception, proves that he’s willing to end on a surprising and disconcerting note. For the first time in the trilogy, the director flinches. He shies away from challenging us and is content with merely entertaining us. This is all fine and dandy, but the finale doesn’t leave the lasting impression of its predecessor.

Rio

Directed by Carlos Saldanha.

2011. Rated G, 96 minutes.
Cast:
Jesse Eisenberg
Anne Hathaway
Leslie Mann
Rodrigo Santoro
George Lopez
Jamie Foxx
Will.i.Am
Jermaine Clement
Wanda Sykes
Bernardo de Paula
Tracy Morgan

As a wee little baby bird Blu (Eisenberg) is snatched from his habitat in the wilds of Rio de Janeiro and winds up in Minnesota as pet to Linda (Mann). One day, ornithologist Tulio (Santoro) shows up and informs Linda that Blu is the last male of his species, the blue macaw. He needs Blu to mate with Jewel (Hathaway) in order to save said species. Of course, they have to go back to Rio for this to happen. Once there, we find out a few things. Jewel is very interested in escaping Tulio’s lab and not at all interested in Blu (she has no use for humans). Smugglers are also interested in our not-so-in-lovebirds, realizing that these are the last two of their kind and very valuable. Finally, Linda and Tulio seem very interested in each other. Chasing, match-making and singing ensues.

What also ensues is little more than an hour’s worth of blandness. It finds its comfort zone in a paint-by-numbers tale that doesn’t hold any real surprises and is more than happy bing cute and slipping in a slightly risqué joke every now and again. Occasionally, something pretty funny happens, it moves along at a nice pace and at a total length of just a bit over 90 minutes it never overstays its welcome. Howerver, it never really differentiates itself from the scores of other animated kiddie flicks made in the last half decade, positively or negatively. Even the songs are kind of ho-hum, not particularly memorable with the exception of the villainous Nigel’s (Clement) tune. This is a shame because you have both Jamie Foxx (Nico) and Will.i.Am (Pedro) in the cast. Love them or hate them, they’ve both made a killing by delivering catchy numbers to pop radio. Most of what we get here feels ripped off from Madagascar.

Don’t fret. This isn’t a bad watch. It’s a perfectly pleasant time-passer. There are some excellent visuals helped by the use of color and the absence of it, in Nigel’s case. Humor comes at a decent rate with the occasional punch line that goes over the kiddies’ heads. They’ll enjoy it and you probably will, also. I’m not sure either of you will love it, but I’m pretty sure you won’t hate it.

MY SCORE: 6/10

Love and Other Drugs

Directed by Edward Zwick.
2010. Rated R, 112 minutes.
Cast:
Jake Gyllenhaal
Anne Hathaway
Oliver Platt
Hank Azaria
Josh Gad
Gabriel Macht
Judy Greer
Jill Clayburgh
George Segal

After losing his job as a stereo equipment saleman, Jamie (Gyllenhaal) decides to give the pharmaceudical industry a try. He takes a job as a sales rep for Pfizer. Basically, he hangs around private practices hocking Zoloft to the doctors. We most often see him at Dr. Knight’s (Azaria) office. While there, he manages to talk the doc into letting him be present during a visit from a patient. That patient is 26 year old Maggie (Hathaway) who has already been diagnosed with Parkinson’s Disease. Of course, Jamie is immediately head-over-heels in love with her, but she wants nothing to do with him. Ever the smooth talking ladies man, he navigates that little hurdle and talks her into a date. Right away, the two start a relationship they both agree is only about sex. Well, if things were that easy we wouldn’t have a movie, would we? Anyhoo, this is all set in the days leading up to the initial public release of Viagra. This becomes prominent in several ways I won’t reveal.

Things start off in an amusing manner. Jamie’s rich younger brother Josh (Gad) has been kicked out by his wife and taken up residence on big bro’s couch. Sales manager Bruce (Platt) is constantly prodding his young protégé to sell more. Prozac salesman Trey (Macht) has the upperhand and is constantly in their way. Dr. Knight is openly selling his loyalty to whichever rep can get him laid the most. Through all of this Jamie and Maggie actually do get laid, a lot…by each other. If you want to see Anne Hathaway in (almost) all her glory this is the movie for you.

It’s our favorite couple’s interactions between lovemaking sessions that try to attach us emotionally to the movie, but fail. The problem is pretty much as soon as he rolls off of her she starts with an unstoppable wave of self-pity, questioning his motives for sleeping with “the sick girl”, as she refers to herself and imploring him to stay away from her. He stubbornly refuses and back and forth they go. We’re supposed to be sympathetic towards their plight because of her disease. However, it’s much more tiresome than endearing. I have to remind you that the peripheral events all seem to work pretty well. They’re entertaining and light. When juxtaposed with them, the heavy relationship at the film’s core is jarring and transparently manipulative, ineffectively tugging on our heartstrings.

Alice in Wonderland

Directed by Tim Burton.
2010. Rated PG, 108 minutes.
Cast:
Mia Wasikowska
Johnny Depp
Helena Bonham Carter
Anne Hathaway
Crispin Glover
Matt Lucas
Stephen Fry
Michael Sheen
Alan Rickman
Timothy Spall
Michael Sheen

Plot: Alice (Wasikowska) falls down a rabbit hole and lands in a strange world.

The Good: Like the best of Burton, it uses odd angles, wild color pallets and eccentric characters to create a lively but still gothic vision. Things and people that would be grotesque in other movies are normal, even beautiful, here. Those we would casually consider normal are merely part of an oppressive establishment. This means Alice is a girl we feel doubly for. She simply doesn’t belong, regardless of where she is. Two of Burton’s muses, wife Helena Bonham Carter (The Red Queen) and long-time collaborator Johnny Depp (The Mad Hatter), turn in excellent work as usual. In particular, Carter is deliciously villainous and our evil queen.

The Bad: There are spots where the movie drags a bit. Most often, this occurs during the scenes Alice and the Mad Hatter have together. They seem to devolve into him aimlessly reminiscing about “the last time she was here.” Also, while I applaud Burton’s decision to focus on storytelling more than special fx, he underused the 3D technology. There are a number of occasions where it is used perfectly. However, there are also long stretches that make you forget why you’re wearing those silly glasses. Too many things happen going away from the camera. Things coming toward the camera are often at its edges, subtracting from the experience.

The Ugly: I’m still wondering why a raven is like a writing desk.

Recommendation: By now, you’re probably aware if you’re a Burton fan, or not. His trademarked wonderful weirdness is on display, as is his knack for patient storytelling. This means there is action, but it certainly no action flick. It’s just another quirky fantasy pic of the sort the director excels at making.

The Opposite View: Peter Sobczynski, eFilmCritic.com

What the Internet Says: 6.9/10 on imdb.com (7/26/10), 52% on rottentomatoes.com, 53/100 on metacritic.com

MY SCORE: 7/10