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Morgan Freeman Week: Now You See Me

Morgan Freeman Week continues...

Directed by Louis Letterier.

2013. Rated PG-13, 115 minutes.

Cast:

Jesse Eisenberg

Mark Ruffalo

Morgan Freeman

Woody Harrelson

Isla Fisher

Dave Franco

Melanie Laurent

Michael Caine

Common

Michael Kelly

Elias Koteas

A quartet of magicians manages to really do the impossible. Daniel (Eisenberg), Henley (Fisher), Merritt (Harrelson), and Jack (Franco) are putting on a huge Las Vegas magic show. They pluck an unsuspecting man from the audience and make him disappear. That's not the trick. The trick is that the man reappears in a bank vault in Paris. When they zap him back to Vegas, all the money in the vault comes with him. Both the FBI and Interpol are quite interested in figuring out how they really robbed a bank on another continent. Working the case are Agent Rhodes (Ruffalo) for the former and Agent Dray (Laurent) for the latter. Also after our heroes is Thaddeus Bradley (Freeman), a former magician who now makes a living exposing trade secrets.

Now You See Me is an insanely watchable movie. It captures our interest early and clinches it tight. Truth is, whether we admit it or not, all of us like to see a good magic trick. When we see one, we immediately try to figure out how it was done. This is the key to the film's intrigue. It repeatedly puts us in the position of bewildered yet fascinated spectator. This spills over from the stage show of our would be heroes into their cat-and-mouse with the law. As a result, the plot moves at a brisk pace while we try to keep up. It's not that the plot is terribly intricate or complex in any way. Our minds are just pre-occupied with the 'how' of what we just saw.

Eventually, the movie has to give us some answers. This is where the problems start. The process of elimination will likely give you the answer to the most pressing question. That question is not how, but who. You can follow that up with why. The answer is unsatisfactory in either case. Scrutinizing things only makes it fall apart even more. Still other things can only be explained by the term "movie magic." We get the same feeling of disappointment Dorothy had after her first peek at the man behind the curtain in the land of Oz.

Of course, if all the big reveals work for you then just ignore the entire previous paragraph. You'll sing its praises and possibly fling around words like 'brilliant' and 'genius.' Though I disagree, I wouldn't even dream of trying to dissuade you. It does take some serious ingenuity to keep up the various ruses as long as it does. And like I said, it is fun to watch as it rolls along. If you haven't seen it, be prepared. The movie may make or break itself during those last few scenes.

MY SCORE: 6.5/10

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What Doesn't Kill You

Directed by Brian Goodman.

2008. Rated R, 100 minutes.
Cast:
Mark Ruffalo
Ethan Hawke
Amanda Peet
Will Lyman
Brian Goodman
Donnie Wahlberg
Angela Featherstone
Edward Lynch

Two lifelong best friends, Brian (Ruffalo) and Paulie (Hawke), and career criminals deal with the trials and tribulations of the life they’ve chosen.

Though neither is a likeable guy, their frustration with where they’ve found themselves draws us in. To facilitate this we get excellent performances from both Ruffal and Hawke. Ruffalo, in particular, is outstanding. It’s an unfortunately overlooked portrayal of a man with many demons. The city of Boston is also a menacing character. Refreshingly, it’s subtly so. Unlike a lot of other movies set there, this one never puts it in your face. There are no extended scenes scored by blaring Irish music, no ridiculously bad New England accents, no shamrocks and no references to the Celtics or Red Sox. Instead, the city either mirrors the bleakness or hope of our heroes, depending on what’s going on, or enforces its own will upon them. It not only helps set the mood, but to change it, as well.

Our two (anti) heroes work for Sully (Lyman). We know they’re frustrated with their position in his organization and have an idea of the type of relationship he has with them, but it could’ve been much more fleshed out. How what transpires affect him might’ve added even more depth. I would also like to have seen more Detective Moran (Wahlberg). The subplot involving his character and Brian could’ve developed into an intriguing cat-and-mouse but instead, it’s a wasted opportunity.

This is definitely for those of us into gritty, urban drama. It gives us great acting and a story that keeps us locked in throughout. Interesting tidbit: apparently, this is inspired by the director’s real life.

MY SCORE: 7.5/10

Date Night

Directed by Shawn Levy.
2010. Rated PG-13, 88 minutes.
Cast:
Steve Carell
Tina Fey
Taraji P. Henson
Mark Wahlberg
Jimmi Simpson
Common
William Fichtner
Ray Liotta
Mark Ruffalo
Kristen Wiig
James Franco
Mila Kunis

Phil (Carell) and Claire Foster (Fey) are stuck in a rut. They’ve been married seemingly forever and have settled into a monotonous routine. To spice things up, they decide to go to a chic new seafood joint. Through a case of mistaken identity, they suddenly find themselves on the run from some very bad people who wouldn’t mind seeing them dead.

Yes, Steve Carell and Tina Fey are our headliners. However, aside from that, nothing about this movie screams comedy. The opening scenes where we get to know our lawfully wedded heroes are more sad than funny. They may even be too familiar for some of us. The rest of the movie plays like a chase movie. The focus is in the wrong place. We see them doing a lot of things they wouldn’t ordinarily do, which is fine. However, the focus is on the action scenes that result from this and not the humor. The comedy complements the action flick when it should be the other way around.

When it does give the action a break, it does comedy very well. Mark Wahlberg’s first scene is all sorts of funny. For my money, its easily the best in the movie. The scene with James Franco and Mila Kunis is also very good. Occasionally, the two stars get to cut loose, as well. Their impromptu dance scene is the best one that centers on them. Mostly, they are at their finest when reacting to the other zany characters on the screen.

In the end, the loving couple has certainly had an adventure. Still, we can’t tell if this makes them more or less likely to venture out of their comfort zone in the future. Finding this out seems to be the point of the movie, but we don’t get an answer. We merely get that it happened. It’s not quite funny enough or packed with enough action to ignore its shortcomings. Despite an excellent and very game cast, and despite some excellent scenes of both comedy and action, Date Night adds up to less than the sum of its parts.

MY SCORE: 5.5/10

What Doesn't Kill You

Directed by Brian Goodman.
2008. Rated R, 100 minutes.
Cast:
Mark Ruffalo
Ethan Hawke
Amanda Peet
Will Lyman
Brian Goodman
Donnie Wahlberg
Angela Featherstone
Edward Lynch

Plot: Two lifelong best friends, Brian (Ruffalo) and Paulie (Hawke), and career criminals deal with the trials and tribulations of the life they’ve chosen.

The Good: Though neither is a likeable guy, their frustration with where they’ve found themselves draws us in. To facilitate this we get excellent performances from both Ruffalo and Hawke. Ruffalo, in particular, is outstanding. It’s an unfortunately overlooked portrayal of a man with many demons. The city of Boston is also a menacing character. Refreshingly, it’s subtly so. Unlike a lot of other movies set there, this one never puts it in your face. There are no extended scenes scored by blaring Irish music, no ridiculously bad New England accents, no shamrocks and no references to the Celtics or Red Sox. Instead, the city either mirrors the bleakness or hope of our heroes, depending on what’s going on, or enforces its own will upon them. It not only helps set the mood, but to change it, as well.

The Bad: Our two (anti) heroes work for Sully (Lyman). We know they’re frustrated with their position in his organization and have an idea of the type of relationship he has with them, but it could’ve been much more fleshed out. How what transpires affect him might’ve added even more depth. I would also like to have seen more Detective Moran (Wahlberg). The subplot involving his character and Brian could’ve developed into an intriguing cat-and-mouse but instead, it’s a wasted opportunity.

The Ugly: What happens the first time Brian meets Moran.

Recommendation: This is definitely for those of us into gritty, urban drama. It gives us great acting and a story that keeps us locked in throughout. Interesting tidbit: apparently, this is inspired by the director’s real life.

MY SCORE: 7.5/10

The Kids Are All Right

Directed by Lisa Cholodenko.
2010. Rated R, 106 minutes.
Cast:
Annette Benning
Julianne Moore
Mark Ruffalo
Mia Wasikowska
Josh Hutcherson
Yaya DaCosta
Eddie Hassell
Kunal Sharma
Zosia Mamet

Nic (Benning) and Jules (Moore) have built their loving family the new fashioned way. Many moons ago, each of the ladies was artificially inseminated, bore a child and at some point apparently prior to any of this, decided to marry each other. Their daughter Joni (Wasikowska), named after rock icon Joni Mitchell, has just turned 18 and graduated high school. She is on her way to college in a few weeks. Their son, Laser (Hutcherson), is 16. He seems to also be bright, but makes extremely poor choices in friends. For him, “the wrong crowd” is all wrapped up into Clay (Hassell), the Neanderthal he hangs out with. Clay seems destined to die a horrible death trying to perform a stunt for YouTube. Anyhoo, things are fairly mundane until the kids decide to find out who their biological father is, without their moms’ knowledge.

In short order, they discover their dad is Paul (Ruffalo), a local restaurant owner. Totally unaware that he actually has kids up to that point, he’s living the bachelor life. You see, he donated sperm 19 years ago and has since forgotten about it. Women throw themselves at him, including Tanya (DaCosta). She’s not only his “friend with benefits” but his employee, as well. Evidently, she doesn’t believe in bras. Of course, a slob like me would notice such a thing for obvious reasons. However, there’s more to it than that. Her bralessness, the afro she sometimes wears (yes, she’s Black), the seemingly no-strings-attached sex she has (with a White man, no less), mark her as a free spirit, a bit rebellious and alternative thinking. She’s a female version of Paul. Though she’s a minor character, she helps frame the movie. She is the embodiment of both his lifestyle and the opposing force he becomes to Nic.

For all intents and purposes, Nic is the patriarch of her family. She’s domineering, demanding and can’t stand that Paul has been suddenly injected into their lives. Her partner Jules appears much more the wife in a traditional sense. She’s been a stay at home mom at Nic’s behest. She’s searching for her own identity and feels neglected. The entire situation becomes volatile as Nic has frequent outbursts and increasingly drowns her sorrows in alcohol. The children grow to like Paul more and more with each visit and he becomes the first client of Jules’ fledgling landscaping company.

As is the norm when worlds collide and get turned upside down, everyone is confused by what’s going on and try to make sense of it all. To the film’s credit, so do we. Who’s right? Who’s wrong? Is there even a right and wrong? What does this mean? Are the kids, or the adults, really all right? This enhances our experience because we’re working our way through it with the characters. In the end, we’re not sure we have any answers. Still, we’ve had an interesting ride with a family not as dissimilar to our own as appearances would lead most of us to believe. That said, if you're religious, or other convictions make you scoff at the notion of a nuclear family headed by two women, you might not be willing to enjoy it.

Where the Wild Things Are

Directed by Spike Jonze.
2009. Rated PG, 101 minutes.
Cast:
Max Records
James Gandolfini
Catherine Keener
Paul Dano
Catherine O’Hara
Pepita Emmerichs
Mark Ruffalo
Vincent Crowley
Sonny Gerasimowicz
Nick Farnell

Tiny Max (Records) is going through a crisis. His big sister hardly pays him any mind and since his single-but-dating mom works all day, he’s left mostly to his own devices. One night, after throwing a particularly dramatic temper tantrum he runs away from home, goes down to the nearby coast, hops in a boat, crosses a raging sea and winds up on a strange island filled with bickering and depressed creatures that look like out-of-work mascots. When he figures out they want to eat him, he makes up some cockamamie reason why they shouldn’t. He tells them he’s got special powers and promises to make all the sadness in their lives disappear. Of course, the mascots do the only logical thing they can and make him king.

I’ve given you the first thirty minutes. For the next hour plus, we watch Max run, jump and play with the mascots, trying his darndest to keep his promise about ending sadness. Obviously, the task seems impossible. It is especially so when dealing with such a morose group. Conflict raises its head time and again. Most of the time, it involves the easily upset and heartbroken Carol. Carol is voiced wonderfully by James Gandolfini. Yes, Carol is a he. Just a little fyi: Tony Soprano is not actually in the suit. That would be Vincent Crowley. Anyhoo, we come to see Carol largely as this island’s version of Max. Between Carol, Max and the rest of the group, life lessons and dirt clods are bandied about.

It’s an odd watch that ignores any plausible real-world consequences of his actions, including just how much time actually passes. Then again, the movie never definitively says that Max went to a real place. That much is up to you. Whether or not the island is real, the movie focuses solely on the wonderland this particular Alice has fallen into and the therapy it provides. I can see some kids being totally enthralled by watching another child just play while also empathizing with the mascots. I can see others bored to tears because once you get past how these creatures look, it lacks the fizz and pop of most movies aimed at the pre-teen audience. The personalities of our friends are droll, at best. The movie seems to drag on and on…and on. There’s also not much in the way of special fx and though there is humor, it’s not made up of pratfalls and fart jokes.

The lack of crassness may be a welcome reprieve for parents. However, the same sentiments apply. You’ll have to think your way through this one. Normally, that’s not a problem for me, but here it was a chore. Unfortunately, big action scenes where our hero battles the bad guy and hordes of his minions never come. Therefore, if you don’t mind the slowness of the proceedings then this will be a nice treat for you. If you’re easily bored, don’t bother.

The Opposite View: Lisa Schwarzbaum, Entertainment Weekly

What the Internet Says: 7.2/10 on imdb.com (8/11/10), 73% on rottentomatoes.com, 71/100 on metacritic.com

MY SCORE: 5.5/10

Shutter Island

Directed by Martin Scorsese.
2009. Rated R, 138 minutes.
Cast:
Leonardo DiCaprio
Mark Ruffalo
Ben Kingsley
Max von Sydow
Jackie Earle Haley
Michelle Williams
Emily Mortimer
Patricia Clarkson
Ted Levine
John Carroll Lynch

It’s 1954 and federal agent Teddy Daniels (DiCaprio) is sent to Shutter Island to investigate the escape of a patient from the mental institution. Actually, that’s redundant. The entire island basically serves as the mental institution. We learn that it’s where they keep the criminally insane. Though the faculty seems to want the issue resolved, they put up various walls of resistance. Our hero is having a hard time getting results.

Agent Daniels also has ulterior motives. It seems he’s had prior dealings with a mysteriously inconspicuous patient and is quite suspicious of what might really be going on in this remote location. He vows to his partner Chuck (Ruffalo) to get to the bottom of things.

As we follow the proceedings, we’re sucked in and wondering how our hero is going to save the day. We get hints along the way that saving the day may be impossible. We can eventually guess where this is all going. That’s normally a death knell. Here, it’s fine because it does something lesser movies don’t. It defiantly straddles the fence, not choosing either of the two possible outcomes it gives us. Neither is very pleasant. Yet, we still feel the need to decipher what we’ve seen, trying to extract the film’s truth. To be, or not to be really is the question. Supporters of both will have plenty of evidence to support their interpretation.

Once again teaming up with director Martin Scorsese, DiCaprio turns in another great performance. For Scorcese, it’s a departure from the norm. This is no gritty urban crime drama, but his storytelling is as effective as ever.

The drawback is that it runs too long. There is a scene in which the movie climaxes by giving us the two options to decide between. The next two or three minutes flesh out one of them. If the Coen Brothers had directed this, it would’ve ended right there, probably without those few minutes but abruptly stopping right when…I’ll let you see it. Scorcese drags it on too long after that, almost explaining too much.

“SI” is a top notch psychological thriller. It diminishes its own predictability with a heavy dose of ambiguity. It also plays with our heads by using lots of smoke and mirrors, but in a good way. This isn’t your uncle pulling a penny out of your ear, it’s a really slick sleight of hand David Blaine would be proud of.

The Opposite View: A.O. Scott, New York Times

What the Internet Says: 8.0/10 on imdb.com (7/16/10), 67% on rottentomatoes.com, 63/100 on metacritic.com

8.5/10

The Brothers Bloom

Directed by Rian Johnson.
2009. Rated PG-13, 113 minutes.
Cast:
Adrien Brody
Rachel Weisz
Mark Ruffalo
Rinko Kikuchi
Maximillian Schell
Robbie Coltrane

Plot: Bloom (Brody) agrees to pull one last con with his older brother Stephen (Ruffalo) before getting out of the family business, for good.

The Good: Right from the beginning we’re drawn in by the elaborate cons. They create multiple stories within the framework of the larger plot. They also keep us guessing where exactly they end. The sense of humor is slick. It’s the kind that makes you chuckle and say “You gotta be kidding me,” but in a good way. Adrien Brody and Mark Ruffalo are both good, as usual. However, Rachel Weisz’s turn as the naïve and eccentric Penelope makes the movie tick. Her charm is infectious and we understand why Bloom is taken with her. Lastly, we get a wonderful ending in which everyone gets everything they want, to borrow Stephen’s terminology. Don’t worry, it’s not nearly as sappy as it sounds.

The Bad: Our villain, Diamond Dog (Schell) is barely visible. We see him a couple times and hear a little about what’s gone on between he and the boys, but we never feel it. Therefore, he doesn’t seem like someone to be feared. Finally, as much as we like Penelope, she’s a little too naive, bordering on stupid. The old saying goes “Fool me once, shame on me. Fool me twice, shame on me.” She’s obviously not familiar with the second half of that adage.

The Ugly: Does Bang Bang (Kikuchi) really go bang bang?

Recommendation: If you’re at all into heist movies or movies about con-men, this is for you. I was very pleasantly surprised as this has flown under the radar. However, you should be aware this is a con-movie sans car chases and tense standoffs with the authorities. Somehow, it still delivers the thrills.

The Opposite View: Jason Di Rosso, Movie Time - ABC Radio National

What the Internet Says: 7.0/10 on imdb.com (6/15/10), 65% on rottentomatoes.com, 55/100 on metacritic.com


MY SCORE: 7.5/10