2015 Blind Spot Series: Glengarry Glen Ross

Pain & Gain

Directed by Michael Bay.

2013. Rated R, 129 minutes.

Cast:

Mark Wahlberg

Dwayne Johnson

Anthony Mackie

Rebel Wilson

Tony Shalhoub

Ed Harris

Ken Jeong

Rob Corddry

Bar Paly

Michael Rispoli

Daniel Lugo (Wahlberg) knows that you'll never get anywhere in life without going after it, full throttle. He's a personal trainer tired of the dead-end position he holds at the gym where he works. Knowing that he's capable of much more, he talks his way into a better job at Sun Gym which is barely keeping its doors open. Within six weeks, he triples its membership, turning the place into the latest fitness hot spot. He still trains some of the clients himself. One of those people is Victor Kershaw (Shalhoub), a millionaire deli tycoon. Lugo befriends him and then hatches a plan to kidnap and extort him. To carry it out, he recruits his bestest buddy Adrian (Mackey), a body builder trained by Lugo who also happens to be impotent thanks to all the steroids he takes. That's the easy part. The hard part is getting a third party to join in. He manages to convince Paul Doyle (Johnson), an ex-con/body builder who has recently given his life over to Christ, but is in desperate need of income. Since none of the three is a criminal mastermind, things fall apart quickly. Blood and wackiness ensues. Oh, almost forgot, it's based on a true story. Mostly.

I'll just go ahead and say it right off the bat. This film is much better than it has any right to be. Let's keep it real. The first of this post, directed by Michael Bay, doesn't inspire confidence in me. I get a sense of dread when those words flash across the screen. That said, he has made a few movies I enjoy. I thought the first of the Transformers flicks was damn good, and so was The Island. I didn't hate The Rock, either. And sue me, but I'm an apologist for both Bad Boys movies. Ironically, seeing the first Bad Boys is a drawback going into Pain & Gain. That may be because I've seen Bad Boys way too many times, but the two films are way too similar looking. Lots of P&G is shot through the same orange filter. Many of the same establishing shots of the city are used. In fact, he repeats so many it often appears he's using stock footage. Finally, the way he shoots his characters is drenched in the familiar Michael Bay style, lots of low angles with the camera swirling around them. While those things detract from the movie, it's where Bay goes against his own grain that the movie excels. He lets the story breathe, giving us something to contemplate, and thankfully cuts way back on the explosions.

Helping that story sink its teeth into us are three very fun performances from this group of stooges. Lugo is clearly the Moe of this group. He's smarter than they are, but not anywhere near as intelligent as he thinks. The somewhat thoughtful Doyle is our Larry with Adrian stepping into Curly's shoes. Granted, this is a seriously demented version of the comic legends, but they pull off the act nicely. They have a nice chemistry that is glued together by Mackie. His character is a dim bulb that manages to make us laugh nearly every time he speaks. The Rock is also an underrated comic actor, and does fine work here. Of the three, he plays it straightest, giving Doyle an obliviousness that serves the movie well. Wahlberg, also underrated in the funny business, treads similar territory to his work in The Big Hit, Three Kings, and, most recently, 2 Guns. The major difference being that Lugo is easily recognizable as a slug right from the start and is just not likable.

As good as those guys are, the best performance in the movie belongs to Tony Shalhoub as their victim. He's also a disagreeable person. However, being that he's the one kidnapped and tortured we sort of feel for the guy. Sort of. Shalhoub plays it as a sweat soaked ball of slime. Really, it's that bad. Of course, bad means good. He causes a serious conflict in the viewer. We know we should sympathize with him, but he himself is so despicable we have to fight the urge to wish him harm.

We're not sure how we should feel about any of this. This is part of the movie's charm. We see things happen and laugh at them as we are appalled by them. When people get into tight situations, we want them to be punished AND to get away with it. At least early on. As the movie goes on, these people shred the hope that there is anything redeemable about them. This is where some people will be turned off. If you're looking for someone to root for here, you're watching the wrong movie. The two who come closest to fitting that description are Rebel Wilson in a hilarious turn and Ed Harris as our voice of reason. We like her because she's an innocent bystander in this outlandish turn of events. We get behind him because he is the de facto good guy. He's not fleshed out enough for us to really care about him, but we know he wants to see the right thing done.

Pain & Gain is not an easy movie to watch. As mentioned, it's a bunch of stupid and unlikable people doing stupid and unlikable things. Starts off sleazy, and only descends further from there. Much of humor is of the juvenile sort and, thanks to Adrian's impotence, is built upon an endless string of dick jokes. Somehow, in the midst of all this, it gives us a film provokes some thought in us even as we might be recoiling from all the scummy behavior. I'm not trying to tell you this is some high-minded drama worthy of Oscar praise. I will say that it is an enjoyable, if twisted adventure.

MY SCORE: 7/10

Gravity

Directed by Alfonso Cuaron.

2013. Rated PG-13, 91 minutes.

Cast:

Sandra Bullock

George Clooney

Ed Harris

Phaldut Sharma

Amy Warren

In space, no one can hear you scream. Oh wait, that's another movie. Regardless, it's true. Ryan Stone (Bullock) finds this out the hard way. She and Matt Kowalski (Clooney) are among the crew on a Space Shuttle mission to perform some routine maintenance on the Hubble Telescope. It's her first time in the great beyond so she's not feeling particularly well while floating alongside the machine she is working on. Other than that, things are going according to plan until our good friends, the Russians, intervene. Sort of. They actually just shoot down one of their own satellites which is no longer functioning. The problem is that the debris is sent hurtling through space, directly at the two most photogenic astronauts of all time. Oh, and their co-workers. Crash, crash, boom, boom, and Stone is separated from the rest of the crew, uncontrollably spinning into the blackness. Kowalski soon recovers her. Even if you haven't seen the movie, you've seen the trailer, or watched the Oscars, or one of the entertainment news shows, or just heard someone bumping their gums about it, so you can guess what happens next. Stone gets separated again and spends the rest of the movie trying to rectify her situation.

Early on, we hear a few different voices communicating with the astronauts, and see Clooney scooting around on his motorized chair. However, it really is a one woman show. It's a spectacular one, at that. Sandra Bullock turns in what I think is easily her best performance. Her Oscar-winning turn in The Blindside is great, if a bit over the top. I've liked her in a number of other movies and been indifferent to her in a bunch more. Here, she's captivating in a way not many movie performers have ever been, completely alone for long stretches of film. Tom Hanks' work in Cast Away immediately leaps to mind. For most of that movie his only companion is Wilson, a soccer ball on which he drew a face. Here, Clooney's smiling mug gives Bullock slightly more companionship. The rest of the way is all her. Even more impressively, she's not even acting in an organic setting most of the time. She's often in model space vessels and an anti-gravity environment. Mostly, she is suspended on a wire against a green screen. The only people around her are the crew, all off-camera, so she has no one to play off. If you don't think that's tough to do, I've got an exercise for you. Try standing up in a public place and acting out a personally and visibly emotional scene all by yourself for a full minute without breaking character or acknowledging anyone who is around. Don't forget you have to be totally convincing. Go 'head, I'll wait. No? Okay, let's move on.

We have to get back to that green screen I mentioned. You've probably seen one and know how it functions, but just in case not, it's just that - a green screen on which the techno wizards will later add visual effects. The magicians that worked on Gravity were rewarded with Oscar gold in just about every technical category there is, and deservedly so. It truly is a special fx marvel. From the smallest details to the eye-popping action sequences, the fx do their job. They work in service of the telling of a great story without becoming story. There is never a moment we don't believe our heroine is floating helplessly in space. This is a huge part of the movie's creation of tension. That tension drives the film. Even before we get to all the angst filled stuff, the visuals work magic on us. In the earlier, more serene moments, we're allowed to gaze upon Stone's infinite workplace. The views are as spectacular as we imagine. Rarely has a setting been more well established.

Like I said, though, the job of all those fx is to help tell a story. Making sure that what dazzles the eye does the same to the mind is director Alfonso Cuaron. Given the massive amounts of technology on display this may sound odd, but he really does take a minimalist approach. Sure, the entire set was constructed on a PC, but that's merely a fact of where our tale takes place. Aside from this, the camera is trained on Bullock and her exploits nearly for the entirety of the runtime. There are only a few exceptions made for Clooney, mostly right at the beginning. Most similarly themed movies would have tacked on another twenty-plus minutes by cutting away often to people working feverishly to save the protagonist. That doesn't happen here and the movie is better for it. It's tight and concise, keeping the viewer on the edge of his/her seat without ever letting us off the hook. There is nothing to focus on besides this woman and her plight. Directing that singular person may have been as difficult as the portrayal of said person by Bullock. Here's another exercise to demonstrate my point. Try having a willing person act out a scenario in a room all alone with you. Have them follow your directions but not actually interact with you. Instead, they must react to things that aren't actually there, and make sure they're looking directly at wherever it is decided these things will be located and/or coming from. Bottom line is Gravity is a masterful job done by Cuaron worthy of his Best Director win at the Oscars. It's even more worthy of our massive exhalation when the closing credits roll.

Man on a Ledge