Dunkirk

The Quick and Dirties: Prepping for the 2015 Dellies

Mad Max: Fury Road

The Drop

Lawless

 

Directed by John Hillcoat.

2012. Rated R, 116 minutes.

Cast:

Shia LaBeouf

Tom Hardy

Jessica Chastain

Guy Pearce

Gary Oldman

Mia Wasikowska

Jason Clarke

Dane DeHaan

Chris McGarry

Tim Tolan

Noah Taylor

In Prohibition Era Franklin, Virginia legend has it that local moonshiners, The Bondurant brothers are indestructible. This is said to be especially true of Forrest (Hardy), the eldest and leader of the trio. Calling him the strong, silent type is an understatement on both counts. He’s usually flanked by Howard (Clarke), the largest of the bunch, and worried about Jack (LaBeouf), the runt of the litter. Just about everyone else in town is also in the moonshine business and business is good. It’s good enough that they’ve attracted the attention of their counterparts from the big city who send some corrupt lawmakers down to muscle in on the backwoods action. The whole town gives up without a fight, except Forrest and his brethren. Forrest not running ensues.

The main strength of Lawless is its characters. As Forrest, Tom Hardy is ridiculously good, again proving he’s among the very best actors woking today. Without mugging for the camera, his face says everything it needs to. His Forrest is clearly a man that measures his words whenever he can and has supreme confidence in himself. He actually believes that bit about being indestructible. Still, he’s very smart and doesn’t let his ego make him entirely wreckless, usually. On the other hand, baby brother Jack is pretty much the opposite: a big talker who likes to show off with fancy suits and cars. It’s a surprisingly good performance from Shia LaBeouf. Jessica Chastain, as Maggie, is also solid, as usual. So is Gary Oldman who gets way too little time on screen. However, it’s Forrest’s rival, Special Agent Rakes that steals the show. A bizarrely made up Guy Pearce does the honors. You will love to hate him.

Lawless also maintains an excellent pace. The action is often brutal and the stretches between action scenes are filled with tension and, surprisingly, humor. These attributes, combined with the wonderful cast, make this a very entertaining movie. A time, or two, ti does stretch the idea of Forrest’s invincibility incredibly thin. Other times, Howard and Maggie blend in with the furniture, not given quite enough to do. That said, it is still an incredibly watchable film that absorbs us into its fabric.

This Means War

Directed by McG.

2012. Rated PG-13, 97 minutes.

Cast:

Reese Witherspoon

Tom Hardy

Chris Pine

Chelsea Handler

Angela Bassett

Til Schweiger

John Paul Ruttan

Abigail Spencer

Rosemary Harris

Tuck (Hardy) and FDR (Pine) are super secret agents for the CIA hot on the trail of international bad guy Heinrich (Schweiger). Even though they're also bestest buds, they have very different love lives. FDR is a ultra smooth ladies' man snapping up any woman he speaks to. Tuck, on the other hand, is stuck in neutral as he repeatedly, and unsuccessfully tries to get back with his baby-mama Katie (Spencer). To break out of his funk, Tuck gives online dating a try. We also meet Lauren (Witherspoon). She's a thirty-something big-wig at a "Consumer's Reports" type company and thus, has no time for a social life. Her besty, Trish (Handler), takes it upon herself to create a profile for Lauren that so happens to be on the same online dating site Tuck uses. See where we're going? Through a minor twist spoiled by every one of this movie's trailers, Lauren ends up dating both men. From there, half the movie is spent on watching Lauren get bad love advice from Trish as she tries to pick between suitors. The other half is spent watching our two would-be heroes misappropriate government funds and violate everyone's code of ethics in order to win their pissing contest for Lauren's love.

No need to beat around the bush, This Means War is a mess of a movie. Cliched dialogue and flat jokes run rampant as the story goes nowhere until it's decided that sex has to be involved. Even then, it only lurches forward a bit until someone remembers there's actually a case these guys are supposed to be working. Seriously, I can't think of a movie where the villain is less important. His only function is to show up near the end and put our damsel in distress.

Even as the story creeps along there are some things brought up. Unfortunately, a number of them are dropped without explanation. For instance, the boys get grounded early on because their covert operation becomes very public and causes lots of property damage. That's a clever place for an action flick to start. However, it's never mentioned again despite the fact that everything they do has the same effect. Other things aren't brought up that clearly need to be, like why one of the guys insists on going by FDR. Those are some of the weightiest initials in American history and were obviously chosen on purpose, but why? I get that these are also this character's initials but going by them is ridiculous. Besides, nothing we know of the real FDR is even remotely related to this guy. Still, we get no explanation.

To their credit, the performers try valiantly to breathe life into this thing. As we all know, reanimating a corpse is impossible. Hardy and Pine play off each other well enough. Witherspoon is generally likable, but annoying during the scenes where she agonizes over which hunk to choose. Thankfully, those scenes are rescued by Chelsea Handler, one of the film's few bright spots. She seems to have been borrowed from a Judd Apatow flick. Her "answer for everything" patter feels improvised, but hampered by the movie's PG-13 rating. Regardless, most of the funny stuff in the film comes out of her mouth. Despite the best efforts of the cast, it never even threatens to become anything worthwhile. I blame the director, McG. Has this guy ever made a decent movie? Maybe, just maybe the first Charlie's Angels qualifies. That was his first and, still, best movie. Ever since, he's been putting out crap like this.

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.

Tinker Tailor Soldier Spy

Directed by Tomas Alfredson.

2011. Rated R, 127 minutes.
Cast:
Gary Oldman
Colin Firth
Tom Hardy

Mark Strong
Benedict Cumberbatch
Toby Jones
John Hurt
David Dencik
Ciarán Hinds
Kathy Burke

In October of 1973, a British Intelligence operation goes terribly wrong and one of its operatives, Jim Prideaux (Strong), is shot and captured. In the aftermath, George Smiley (Oldman) is among the people forced into retirement. At about the same time, a few others are promoted to prominent postions due to them getting their hands on some high grade Soviet intelligence. Fast forward a bit and Smiley is dragged out of retirement to perform a sensitive investigation. It is suspected that one of the men who have risen through the ranks is actually a mole. This is a remake of the 1979 film which starred Alec Guinness.

Tinker Tailor Soldier Spy is indeed a spy movie through and through. However, it’s concerned with the drama of real people who are spies, not the stereotypical action heroes we’ve come to believe them all to be. The effort is placed on trying to figure out where the secret rooms are, who’s meeting there and what they’re saying, not in trying to dazzle us with our hero’s death defying feats. To this end, it sets a deliberate pace that will admittedly feel slow to some. For others, it will leisurely suck us in as we come to understand there is nothing leisurely about the situation at hand. We’ll grow more fascinated as the twists and turns mount. We may even feel we need a tour guide to help navigate the course.

This is where Gary Oldman comes in. Basically, he holds our hand through the maze. He doesn’t have all the answers but he’s darned good at looking for them. Since he is holding our hand, we can’t help but get to know him. What sticks with us most is how unhappy he seems. True, he makes Smiley a stoic chap, but that just seems to be how the man operates in his professional life. Beyond that, there is a deeper sadness to him. Obviously, part of it is because he was unceremoniously dumped when stuff hit the fan. There’s more to it than that due to some other things we find out over the course of our time with him. Even when he should be happy, he appears unsure that it’s alright to feel that way. Oldman conveys all of this perfectly in one of his most subtle portrayals.

All of the things that make TTSS wonderful can work against it, as well. As mentioned, it can drag at times. During this time, it’s possible to get a little lost. As great as the acting is there really isn’t much character development. The situation develops, the people do not. Finally, part of its charm is that it’s a period piece. Since the Cold War has been over for quite some time now, it can feel dated. Certainly, there is some relevance to today’s world but it may not be so easy to pick up. In the end, it’s an excellent spy flick that isn’t for everyone.

MY SCORE: 8/10

Warrior

Directed by Gavin O’Connor.

2011. Rated PG-13, 140 minutes.
Cast:
Nick Nolte
Tom Hardy
Joel Edgerton
Frank Grillo
Maximiliano Hernández
Kevin Dunn
Jennifer Morrison
Denzel Whitaker
Kurt Angle
Erik Apple

What happens when your demons catch up to you? Our three main characters in Warrior have to find out the answer to that very question. There’s Paddy AKA Pop (Nolte), and his two sons, Brendan (Edgerton) and Tommy (Hardy). The three have been estranged for quite some time. Pop is a drunk who abused the boys’ mother. He’s been sober for close to 1000 days. When he comes home one night he discovers Tommy waiting on his doorstep. We quickly learn that a few years ago Tommy took mom and fled in hopes of getting her as far away from Pop as possible. He seethes hatred for his old man, yet here he is. Brendan lives not too far from his father but refuses to see him, mostly for the same reason as his brother. However, there is even more to that dynamic. The two brothers aren’t speaking, either. Both are trained fighters, but not working as professionals. Still, they both decide now is the time to get back in the game and start seriously training for a very high profile mixed martial arts tournament where the winner takes home $5 million. They do so separately and without knowledge of what the other is doing, of course. Interestingly enough, Tommy asks Pop to work with him.

The three men share something I hesitate to call a bond. That would imply that what they have is a positive thing. Rest assured, it is not. It’s much more akin to shackles that keep them connected no matter how much they desire to be otherwise. Indeed, they are each other’s demons. It seems they’ve been haunting one another all of their lives. Despite all the anger between them, we empathize with each of them. We understand the actions of the two sons. Things are a little trickier with regards to Pop. However, we feel sorry for him. He desperately wants to make amends but knows his mistakes are unforgivable.

Besides watching the guys rage against each other, the reason the two brothers want and need the prize money is also explored. This adds to the drama and helps to flesh out the characters. The writing and the actors themselves aid in this also. Nolte and Hardy are particularly good. It’s one of Nolte’s best in years. He really conveys a man constantly grieving his own errors, desperate to reconcile with his offspring and feeling completely dejected. It’s heart wrenching stuff. Whenever Hardy’s on screen, Tommy’s anger consumes both him and us. We feel the chill of his coldness. However, knowing what’s gone on in his life, we totally understand. By the way, as Brendan, Joel Edgerton holds up well also. Unfortunately for him, his performance is bookended by two outstanding portrayals.

Don’t go getting the wrong idea. There is lots of MMA action. It’s oddly handled, though. It’s brutal, but only up to a point. Fists, elbows, feet and knees hit as bone-crunching noises threaten to blow out your speakers. Bodyslams certainly live up to their name. However, it’s all strangely sanitized to fit into the movie’s PG-13 packaging. In short, it’s a bloodless affair. Anyone who’s seen the sport in real life knows this isn’t the case. Often, someone is being pummeled but where they’re being hit is barely out of sight. When you see this realize it’s the camera doing what camera’s aren’t supposed to do: flincing.

The fighting in Warrior is not here to satisfy my bloodlust, though. It’s here to provide a triumphant achievement for one of the brothers. For this reason, it’s been called just another Rocky clone. I disagree. There is that element to Warrior, but it’s much more. It’s about the painful relationships the three men share. This comes through even in its most Rocky-esque moments. Though one son assumes the Balboa role, the other is no Apollo Creed. He’s much more reluctant hero than villain. However, we do get an Ivan Drago in the form of unbeatable Russian champion Koba (Angle). In reality, he’s merely an interesting sidebar. Finding a way to defeat him is not the point of the nearly two hours we spend with this dysfunctional family. The point is to see how much the thrill of victory can be tainted by the agony of defeat.

MY SCORE: 8.5/10

Inception

Directed by Christopher Nolan.
2010. Rated PG-13, 148 minutes.
Cast:
Leonardo DiCaprio
Joseph Gordon-Levitt
Ellen Page
Ken Watanabe
Tom Hardy
Marion Cotillard
Cillian Murphy
Dileep Rao
Tom Berenger
Michael Caine

Dom Cobb (DiCaprio) is a unique sort of criminal. He’s often hired by companies to steal secrets from their competitors. What makes him uniqe is that he actually enters a person’s mind through their dreams to unlock these treasures. His latest employer, Mr. Saito (Watanabe), wants something different. Mr. Saito wants him to do the opposite and plant an idea in the mind of his biggest competitor’s son Robert Fischer (Murphy). Putting an idea into someone’s mind, we learn, is called “inception” and thought by most to be impossible. Cobb says he can deliver and sets out hiring a crack staff to help him do so.

At any given moment we are thrust into and kicked out of dreams. We watch land and cityscapes change before our eyes, often in impossible ways. We see how time operates on different levels of consciousness. We see Dom’s own sanity slipping as too much time spent in other people’s minds, along with the things going on in his own, take a steadily increasing toll on him and threatens his and the team’s ability to complete the mission.

This is far from a simple movie. Like many fantasy or science-fiction films, it asks us to accept something seemingly preposterous as a sort of reality. The difference between Inception and the majority of others is simple. For the two hours or so we’re watching those others, it’s mutually understood that the reality on screen is wholly separate from our own. We know that no amount of exposure to gamma rays is going to transform us into The Hulk. Here, we’re given cause to wonder about our own dreams and the odd events that occur during the portions we can remember. And what about those parts we can’t remember?

Amazingly, even with all the jumping in and out of dreams and playing with reality, Inception is not nearly as convoluted or complicated as it could’ve been. Like I said, though, nor is it simple. With incredible special fx, astute storytelling, enough action infused into the proceedings and another great performance by DiCaprio, it strikes a perfect balance between entertaining us and challenging us.

Speaking of DiCaprio, he’s becoming the go-to-guy for leading men with less than a firm grip of reality. Here, as well as in The Departed and most recently in Shutter Island, he plays a guy who struggles with the concept. Kudos to him for being brilliant in all three.

As I’ve mentioned, the special fx are also brilliant. Worlds coming together and falling apart as we watch provide splendid visuals. In particular, the city that folds over on itself is an awe-inspiring moment. My only gripe is that I didn’t see it on the big screen. I may not ever get to see it in a theater, but I definitely plan on seeing it on something bigger than my 32” television. Yes, I’m putting my pennies aside.

All of the great things Inception does would be for naught if it blew the ending. Thankfully, it does nothing of the sort. Surprisingly, it leaves us right where it tells us it will and somehow, it still works. It works because we hope against hope that that’s not how it will end. Still, when it does we’re left to wonder and debate what’s next. It’s a perfect ending that I hope isn’t ruined by a sequel.

MY SCORE: 10/10

Bronson

Directed by Nicolas Winding Refn.
2008. Rated R, 92 minutes.
Cast:
Tom Hardy
Amanda Burton
Kelly Adams
Andrew Forbes
Jon House
Johnny Phillips
Matt King
James Lance

The life and times of Michael Peterson AKA Charles Bronson (Hardy). No, not THE Charles Bronson, star of such classics as Once Upon a Time in the West, Hard Times, Death Wish and its way too many sequels, so on and so forth. We’re talking England’s most notorious prisoner. He takes on the Bronson moniker during one of his rare stints in the free world as his underground street-fighting name and it sticks. True story. Really, this is based on a true story.

So far in his life, Charlie has spent 34 years in prison. We’re told that 30 of them have been spent in solitary confinement. His crimes on the outside hardly warrant such lengthy incarceration. What happens on the inside is what extends his stay. Those fo you familiar with sports radio and TV host Jim Rome will recognize the label “likes to fight guy.” That describes Bronson to a tee. He simply loves fighting. Often, he fights groups of prison guards all at once. Whenever he knows its about to go down, he gets naked and slathers himself in some sort of cream for some unexplained reason. Just as well, I’m not sure I really want to know why. Sometimes, Bronson fights other inmates because that’s the only way he knows to deal with a situation. He even kills one poor guy simply to get moved to a different facility. The scenes depicting all these fights are realistically brutal. As he should since he’s usually taking on half a dozen guys or more, Charlie ends up bloody and beaten on more than a couple occasions. Saying that he’s a hard-headed fellow is a massive understatement.

Bronson tells the story from its subject’s completely unapologetic point of view. It doesn’t try to present him as some sort of misunderstood soul. It barely falls shy of glorifying his lifestyle. What makes it an odd biopic is that it flat out refuses to analyze him or speculate on what made him that way. As a result, we simply watch him move from one act of violence to the next until 90 or so minutes pass and the credits roll. It feels like a pointless exercise. At the risk of spoiling it, I’ll put it this way: he doesn’t learn a lesson, get the girl or save the day. We don’t sympathize with or gain a deeper understanding of him and we don’t learn a lesson, either.

If there is a method to the madness, it is to take aim at and skewer the culture that makes celebrities of anyone willing to make a fool of themselves in public. We see it in Charlie’s monologues delivered on a stage during which he basks in the glory of his fame as his country’s most dangerous inmate. The problem is, the movie seems to strain to make a point and doesn’t quite do it effectively.

As pointless excercises go, this is an excellent one. The simple fact of the matter is that Tom Hardy is amazing in the title role. He gives a mesmerizing performance. He makes Bronson, both the character and the movie something you just can’t take your eyes off.

MY SCORE: 7.5/10