Review: "The Monuments Men"

Director: George Clooney
Runtime: 118 minutes

Even at just two hours, The Monuments Men feels longer than World War II itself. There is fascinating history in this story, but draggy pacing and a lack of stakes quickly drown this star-studded endeavor. Director and co-writer George Clooney has assembled a big name cast who are all dressed up with nowhere to go, even in a story set against WWII and the last days of the Third Reich. Neither convincingly dramatic nor sufficiently comedic, The Monuments Men is a misfire that casts significant doubts on Clooney's abilities behind the camera.

Rather than sit through The Monuments Men, you'd be better off watching the excellent documentary The Rape of Europa. Despite all of the big names and Hollywood gloss, Clooney's film is strangely inert from the get go. By contrast, the Europa doc is a fascinating, gripping account of an often-overlooked episode in the second World War. 

To call the characters in The Monuments Men underdeveloped would be an understatement. They are barely sketches. Even in the hands of a talented ensemble, the painfully thin writing is nothing but a hindrance. A good third, maybe even half, of the film is meant to be something of a comedy, but the results are often as flat as day-old Coke. Matt Damon, always watchable, is essentially human cardboard. He's not helped by the way the film sidelines his subplot for long stretches, to the point where it feels like years have passed each time we check in on him.

Meanwhile, Bill Murray and Bob Balaban are stuck with unbearably forced comedic relief, none of which is helped by the painful amount of time between lines of dialogue. For a film that should have such significant stakes, it's somewhat astonishing how badly Clooney botches the pacing here. Motivations are nonexistent, as is character development. What we're left with is a middling slog of a history lesson with nothing left to offer either historically or cinematically. Moments that should land hard evoke mere shrugs, while the overall impact of the journey is reduced to, "art is kind of important, no?"

But the biggest offender of all is just how self-congratulatory the whole enterprise feels. A few lines about the importance of art are merely tossed off, and this alone is supposed to make the whole journey mean something Important. Yet when a character stares in awe at an abandoned Rodin sculpture, there's no reason to care or share in that moment of awe. This same level of laziness is present from the get-go, which makes all two hours of The Monuments Men crawl by through an interminable series of episodes. The Monuments Men make look the part, but, as a film, it has all of the worth of warm champagne without any bubbles. 

Grade: C-/D+

Review: "Gravity"

Director: Alfonso Cuaron
Runtime: 90 minutes

Much of the pre-release buzz around Alfonso Cuaron's Gravity has featured comparisons to 2001: A Space Odyssey. That Kubrick classic is not only held up as one of the greatest space-set movies ever, but also as one of the best made in any genre whatsoever. With its icy, yet hypnotic, atmosphere and complex symbolism, it's no surprise that 2001 is still kept on such a lofty perch. How can Gravity measure up to 2001's legacy? The short answer is that it doesn't. The long answer is that it doesn't because it's a totally different sort of space adventure, one that succeeds effortlessly on its own terms. 

Instead of trying to one-up Kubrick's film, Cuaron has made a movie that is the polar opposite. 2001 is a heady puzzle open to all sorts of interpretations, even as it's dressed up as a sci-fi adventure. Gravity is infinitely simpler. That's a statement, not an insult. Gravity isn't out to ask big questions or leave us scratching our heads. Instead, it's an expertly calibrated thrill-ride that seamlessly moves from one set-piece to the next, all executed with magnificent skill.

The plot is but a simple tale of man vs. the environment. After a Russian satellite is destroyed, the debris wipes out the space shuttle carrying veteran astronaut Matt Kowalski (George Clooney), and first-time space walker Dr. Ryan Stone (Sandra Bullock). With communications with Houston down, the pair are left to their own devices to survive long enough for some sort of rescue. Only, as the opening title cards inform us, this is an environment where there can be no happy co-existence. Life in space is impossible, so it's not a matter of whether the characters can adjust to their surroundings. They know full well what awaits them if they fail. 

And as a tale of desperation and determination, it's hard to fault what Cuaron and his team have pulled off. Running at a crisp 90 minutes, you'd be hard pressed to find a wasted moment in this visual roller coaster as it careens from one big moment to the next. Even in standard 2D, the sensation of being in space fully comes through thanks to Cuaron's bravura direction, along with Emmanuel Lubezki's photography, and the staggering visual effects that fill out his shots. As in Children of Men (2006), there are quite a few long takes, which only heightens the sensation of zero-gravity terror. Steven Price's score is also quite powerful, used consistently but never to the point that it becomes a suffocating sonic distraction.

But it's not all technical showmanship that makes Gravity such a relentlessly effective experience. Children of Men was also a first-rate bit of filmmaking, but it suffered from thin scripting and lukewarm performances. Gravity's writing may not be its strong point, but it certainly hits the mark considerably better than Children of Men ever did. There's little room to create full, satisfying dramatic arcs, but the scant characterization does come through in moving, and ultimately rousing, ways. 

This is largely due to what leading lady Bullock pulls off as the film's emotional anchor. While her co-star is used more for cheeky asides and star power (sometimes distractingly so), Bullock is fully convincing with what could have been an empty shell of a character. First and foremost, Dr. Stone has to simply survive, and Bullock carries herself with the right amount of fear and steely determination. The film could have easily turned into nothing more than an hour and a half of Bullock screaming and panting. Instead, there's enough attention to her character's past, as well as enough moments that give the actress room to breathe, that make her someone worth rooting for, instead of a blank audience surrogate.

Of course, given the set up, this means that the information we learn about Dr. Stone has to come in the form of dialogue that manages to cover all of the BIG important details of her life. It's not the most elegant approach, but Cuaron's directing never flags in the quieter moments. When things slow down (relatively speaking), and silence takes over, Bullock turns the handful of character details into a surprisingly affecting performance. The actress may not have much to sell, but she gives it her all and sells the hell out of it, even when the script threatens to become hackneyed.

All of this builds to a tremendous finish that is not only visceral, but also quite emotional. It's tempting to refer to Gravity as little more than an expertly-crafted theme park ride. However, I doubt anyone has ever been on a ride that worked their emotions over along with their nerves and adrenaline glands. Gravity is a narratively simple film, but to dismiss its achievements so flippantly ignores the tremendous amount of effort put forth by those involved. Cuaron's film, which took seven years to reach screens, is a powerful cinematic experience that uses its simplicity wisely, rather than as a crutch. It's not the next 2001, and it doesn't need to be. Gravity is its own sort of space adventure, and it's a fantastic one to boot. That ought to be enough.

Grade: A- 

Review: "The Descendants"

Alexander Payne's The Descendants may be set on the lush islands of Hawaii, but the journey that the film takes us on is anything but a vacation. Quite the opposite; the road is pretty rough. But even though the territory that Payne is navigating is generally familiar (one major plot thread requires zero effort to guess its outcome), the journey, even at its leisurely (though never sluggish) pace is worth taking. The film, one of the director's kinder, less bitter projects, is a far cry from Payne's best work, possibly his least interesting, but it is strong enough to warrant a look from casual movie-goers and hardcore cinephiles alike.

Adapted from Kaui Hart Hemmings' novel of the same name, Payne's film centers around Matt King (George Clooney), a father struggling to manage his family after his wife gets injured in a boating accident. In addition to receiving constant trouble from his daughters Alex (Shailene Woodley) and Scottie (Amara Miller), Matt has to deal with the revelation that his wife may have had an affair. For all of the drama on the surface, however, The Descendants packs a surprising amount of humor, which helps the somewhat familiar character and story arcs easier to get through.

The biggest obstacle that the film has, familiarity aside, lies in its opening. Rather than establish Matt's character through real interactions with other people, the opening stretch is flooded with his narration while we watch (but don't hear) him sit at his desk, eat lunch, and meet with family members. It's an off-putting way to open the story, especially when the film completely drops the narration after the opening scenes. Consequently, the opening is also where the characters, even the protagonist, are the least interesting, and the film feels the most mundane. Thankfully, once The Descendants trudges through this, the film only gets stronger, even if it never quite makes its mark as anything spectacular.

All in all, this is a showcase for Clooney, whose work here is worth the price of admission. Less concerned with maintaining his movie-star looks and image the past few years, the actor is starting to settle more and more into characters who are less similar to, well, George Clooney. The role of Matt isn't necessarily some radical departure from the slick, suave characters Clooney usually plays, but at the very least, it allows the actor some room to truly distance himself from his star persona, and sell the role based on more than mere charisma. Once he's given more to do than narrate, Clooney is able to actually dig his teeth into the role, and the result is one of the actor's strongest performances to date, despite the role's relatively straightforward characterization. But even though Clooney is the film's biggest asset, the rest of the cast certainly pulls their weight. That is, when they're actually given enough to do. The closest the film has to a major supporting role is Woodley's Alex, Matt's older daughter who tells him about the possible affair. The actress, previously known for TV's The Secret Life of the American Teenager (AKA the show that featured a high profile guest part for an android, er, Bristol Palin) makes quite the leap in quality here. Maybe it's Payne's way of working with his actors, or her strong father-daughter chemistry with Clooney; either way, the film proves that Woodley is capable of much more than teen soap opera-level acting.

Other small roles, filled out by the likes of Beau Bridges (no, not the one with the Oscar; the other one), Matthew Lillard, and Judy Greer, who really ought to be getting larger, more substantial parts at this point in her career, are also handled well. However, the film dwells so little on them that they rarely get a chance to make much of an impression. Payne seems to want to cover quite a few bases, yet still orient the film entirely around Matt's perspective, which hinders his ability to make the whole ensemble (aside from Alex) fully rounded. Then there's Sid (Nick Krause), Alex's older, dopey friend who comes along for the ride for reasons Payne doesn't seem interested in justifying. At first used for solid comedic effect, Payne finally gives the character more to work with in one nicely handled scene opposite Matt. However, once this scene is over, the character is sidelined for the rest of the film, which makes you wonder why they bothered in the first place.

That seems like a lot of issues to take with the film, but rest assured there's still plenty to like here outside of Clooney and Woodley. The film's trickiest obstacle, mixing elements of tragedy, dysfunction, and comedy, is actually pretty remarkable considering the specifics of the plot. Only once does a transition between drama and comedy come off as awkward, and the awkwardness is little more than fleeting. And however familiar the arcs may be, there's no denying that they've at least been executed well. Payne may not have made any revelatory statements about family relationships, but at the very least he's pulled them off with a level of maturity and sincerity that rises above syrupy Hollywood sentimentality. This makes for a good film, but not quite a great one (which it very well could have been). What it all comes down to in the end is that, writing issues aside, is that The Descendants lacks any real surprises. For all that's done well, which is quite a bit, the film's overall impact feels muted because there's nothing outside of the lead performance that feels like anything to write home about. The Descendants represents a nicer, more accessible Alexander Payne, but also a less interesting Alexander Payne.

Grade: B

Review: "The Ides of March"

Ryan Gosling has, along with Bryce Dallas Howard and break-out star Jessica Chastain, had something of a banner year, first with Crazy, Stupid Love, and then Drive, one of my favorite films of the year thus far. An immensely talented actor (best of his generation?), 2011 was the year that Gosling finally embraced his leading man/star potential, and it's paid off quite well. His final offering for 2011, George Clooney's political drama The Ides of March previously tipped for Oscar consideration, seemed like a bang-up way to close out the year. But even though it's a solid entry on the actor's (and everyone involved) filmography, Ides is a curiously limited film, one that is intriguing enough through its run time, but perhaps not good enough to linger long in one's thoughts.

Adapted from Beau Willimon's play "Farragut North," (itself said to be loosely based on the '08 campaign of Howard Dean), Ides centers on Stephen Myers, an expert media strategist working for Democratic hopeful Mike Morris (Clooney) during the critical Ohio primary. Myers is seen as one of the best media minds in the country, and an invaluable asset to any campaign he works for. But as its Shakespearean title suggests, however, something is rotten in the state of Ohio. As Myers navigates the shark-infested waters of the campaign, he gets a crash course in dirty politics that leaves him a profoundly changed man.

Starting off on a weak note, The Ides of March does improve from its somewhat tepid opening sequences. The characters and their relationships aren't as engaging, charming, or witty as the film would like us to believe, and it makes the introductory act the least cinematically pleasing of the lot. When the story finally hits its central conflict, however, it's generally all up hill from there. Clooney may not have much of an eye for compelling images (hand this story off to Polanski, and you'll come back with an elegant, sleek cousin to The Ghost Writer), but he certainly tells the basic story well, even though he cuts a crucial scene short just so another character can explain it to another later. Some may not be too enthused by the film's politics (the left-leaning ideals are worn proudly on the film's sleeve), but at least they're contextualized in the form of press conferences, debates, and town hall meetings.

Unfortunately, as the film progresses and the story gets stronger, the characters get weaker. Despite its all star cast, The Ides of March doesn't necessarily use them well, nor does the screenplay give them much to work with. Gosling is reliable, as always, and has some strong moments in the final act, but in spots he seems to either coast, or verge into bug-eyed territory. He can at least be thankful, though, that his character has enough that's meaningful to do and say. Phillip Seymour Hoffman and Paul Giamatti, two of our greatest character actors, give solid turns in opposing supporting roles (Giamatti's being given a bit more to work with). Unfortunately, the script doesn't take their characters far enough. I'd heard beforehand that each of their characters had a "big moment" that could lead to a place in the upcoming awards season. Having seen the performances, I'm wondering what on earth those moments were, because neither actor makes a lasting impression. As far as women are concerned, Marisa Tomei is given a key role, but not an interesting character, though she certainly fairs better than poor Jennifer Ehle (can we please stop giving this woman thankless roles?). Surprisingly, the film's best performance comes from Evan Rachel Wood as a young intern on the Morris campaign, who mixes ambition and vulnerability to create the film's most sympathetic character. Clooney, in front of the camera, is absent from screen for surprisingly long portions, but in his one major scene he nails it, and the tension he and Gosling create is fantastic, albeit fleeting.

On the technical side, its a solid film, though there's nothing extraordinary about aspects like costumes or set design. Cinematography, by Phedon Papamichael, is merely adequte, barring the excellent final shot. The standout, a surprise in this sort of film, is Alexandre Desplat's score, a low-key blend of beats and strings that adds a subtle touch of intrigue and danger to the film's atmosphere. Unfortunately, the use (or misuse) of the characters comes back to bite the film. The feeling of betrayal is never made as compelling to the audience as it is to the characters, most of whom fall into one-note territory. The script also falls victim to two obvious pieces of foreshadowing, one which feels contrived, and one that feels like a last-minute attempt to show that the story has been brought full-circle. The Ides of March is like candidate Mike Morris in many ways; it has undeniable strengths that should make it a force to be reckoned with. Unfortunately, those strengths are undercut by flaws that diminish its impact. Is this an intelligent, adult-oriented film? Yes. Is it anything remarkable, or will it be remembered in the years to come? Probably not.

Grade: B-

Venice Review Round-Up: "The Ides of March"

It's the end of August, and along with the end of Summer, it means that it's time for the Venice Film Festival, one of the biggest and buzziest in the world. There are any number of potential contenders screening this year (in and out of competition), and the 68th festival, with a jury headed by Darren Aronofsky, kicked things off with its opening night selection, George Clooney's The Ides of March. Here's a look at some early word on the political thriller, which boasts a fantastic cast and is one of my most anticipated of the year (click the publication name to go to the full review):

Variety - Justin Chang (N/A): "...wallows in its own superiority to the point where its cynical pose almost looks naive." "...the terrific cast isn't always seen to its best advantage."

Emmanuel Levy (A-): "In time, this 1970s-like movie should assume an honorable place in the company of such great American political melodramas as 'The Candidate,' 'All the President's Men,' and others..."

Time Out London - Dave Calhoun (3/5 stars): "...taken as a diverting aside on our world and with its more awkward pretensions forgiven, it's captivating enough and well-performed by a strong cast, even down to the smaller ensemble roles."

The Hollywood Reporter - Deborah Young (N/A): "...the fine cast makes every line of dialogue count..." "Classy and professional throughout, the technical work gracefully holds all the threads together."

The Guardian - Xan Brooks (3/5 stars): "What remains is your classic compromise candidate: a film that set out with a crusading zeal but had its rough edges planed down en route to the nomination."

Venice Verdict: Though a well made and well acted political thriller, The Ides of March is not quite as insightful and sharp as it aspires to be.

"The American" - REVIEW

In the first half of The American, director Anton Corbijn's follow-up to his Joy Division movie Control, an Italian priest (Paolo Bonacelli) tells Jack (George Clooney), "...you have the hands of a craftsman." Like the film's main character, The American has some small issues that hold it back from its full potential, but when it depicts the scenes of Jack being a craftsman, it succeeds.

The film opens with Jack, an assassin, botching a job in Sweden, and like a darker, humorless brother of In Bruges, the film's main plot involves Jack in hiding, waiting for his next assignment. That assignment comes in the form of Mathilde (Thekla Reuten), who commissions Jack to build her a very special rifle for a task she won't reveal. As far as plot goes, that's about all that goes on, aside from Jack's suspicions that someone is following him, and a relationship with a local prostitute (Violante Placido). Though I suspect it would still prove to be divisive even without the terribly misleading marketing campaign (a shoot-em-up-thrill-ride it is not), for this viewer, Corbijn and Clooney worked magic. This is a steadily paced film, with little happening, and peppered with intriguing-yet-vague conversations that leave the focus on the characters and what little we know about them. In fact, The American may boast some of the quietest suspense I've seen in years, with any number of scenes (usually at night) that look as though they will finally lead to a chase/shoot-out and don't. And yet, for me, that's not a problem. Some may say that the shots lingered just a hair too long, or that there wasn't anything going on except at the end. Regardless of whether you liked the film or not, the last half of that statement seems to miss the point. This is not about where Jack is going, it's about how he deals with what has happened in the past, while stranded in a village that at times feels like purgatory on earth.

And there are three keys that hold it all together: Corbijn, Clooney, and cinematographer Martin Ruhe. Corbijn, a photographer himself, displayed a strong visual eye with the stark black and white of Control, but in collaborating with Ruhe, he's taken it up a notch; color suits him well. Once Jack arrives in the village, the location never really changes, yet the constant use of wide, establishing shots of the village's buildings (often surrounded by clouds) never grow tiresome or feel unnecessary. The pair also play with light beautifully, filling the frame (if only briefly) with reds, blues, browns, and in one of the best shots in the film - Jack sitting on his bed after awaking from a nightmare - gold. Even the more plainly lit scenes, like those of Jack working away at his project, remain dynamic simply because of the (often simple) movement taking place in the frame. And like Animal Kingdom, Corbijn and crew know how to use sounds carefully, so that the few "bang!"'s in the film (some of which aren't gun shots) resonate. Herbert Gronemeyer's music, though used infrequently for the first half or so, adds additional atmosphere to Ruhe's subdued-yet-beautiful images.

And this brings us to the last piece of the puzzle, Mr. Clooney himself. It's easy enough to write Clooney off as more of a star than an actor, playing relatively similar roles that capitalize more on his charm and persona that real acting heft. And this is why Clooney might be the film's greatest strength; despite not having too much time to talk, Clooney is never given a chance to project his usual charm. This is not a spin-off role of Danny Ocean, this is a fully realized, darker, complex character who succeeds thanks to Clooney digging into the role and (in a minimalist way) acting the hell out of it. The rest of the cast do fine work as well, using their minimal dialogue to create characters with some illusion of (un-seen) depth when they could have easily been empty or one-note.

Yet while some elements of the screenplay - the conversations - are high points, others put a bit of a damper on the overall package. I won't say why, but after certain events you might wonder why the police are never called to the town. In another instance, a compelling turn ends up feeling horribly inefficient from a narrative stand-point. Yet despite some plot-holes, The American is a success thanks to its performances and overall craftsmanship, which might just be enough to keep those plot-holes from being too much of a distraction. That is, if you're in the section of the audience who are engaged and not bored to tears.

Grade: B/B+

Teaser trailer for "The American" starring George Clooney

When I first saw production stills for this film, I assumed it was just another assassin thriller, but the trailer makes it look much more thought-provoking. I still haven't seen Anton Corbijn's Control (2007), but I've heard great things. From this trailer alone, it's obvious that Mr. Corbijn has a beautifully understated visual style that should go with the film well. And even cooler is the presence of Thekla Reutan, who did a nice job in a what was basically a throwaway role in the fantastic In Bruges (as the hotel co-owner/receptionist).