A Most Violent Year finally arrived in wide release yesterday, following its initial Oscar-qualifying release in select cities on December 31st. So I caught the late show at AMC’s John R 15, in a screening room that had been surprisingly renovated into having recliner seats, rather than standard seating.
The film is the third feature written and directed by rising star JC Chandor, whose previous releases, All Is Lost (which I described here) and Margin Call (one of my favorite films of 2011), received wide acclaim. This time Chandor paired with actors Oscar Isaac, Jessica Chastain, David Oyelowo and Albert Brooks, along with a wide range of supporting characters, to deliver a complex period piece about a violent time in New York City’s history and one family empire’s role in a competitive business.
While all the performances were uniformly strong, I felt that Isaac didn’t offer particularly new shadings from previous roles. Interestingly, the film may or may not have deliberately made several winks to his role in Drive, where he played a character called Standard, involved with a shady organization led by Albert Brooks. And here he led the Standard Oil Company, which may or may not have come from questionable roots, and Albert Brooks appears as his principle advisor. Meanwhile, Chastain offered a slow burning performance that masterfully builds from demure to aggressive, with a key turning point happening when she and Isaac are out for an evening drive that suddenly turns a bit more violent. However, her character seemed to disappear from the last third of the narrative, perhaps as a reflection of Isaac’s independence from her interference.
The film delights in its ambiguity, although that made for a problematic viewing experience at times, as in trying to figure what was exactly driving the character motivations. The production worked hard to recreate NYC’s look of over 30 years ago, and a recurring theme of snow on the ground is an apt metaphor for the light and darkness of the story.
My Rating: ***1/2
Foxcatcher finally reached the Detroit area sometime just after the new year. I’d had a chance to see this film at Thanksgiving and again at Christmas in the Delaware area, not far from where the real life events took place, but held off until last week back at the Main Art Theatre.
Steve Carrell and Mark Ruffalo have received acclaim and Academy Award nominations for their work in this film, but Channing Tatum has been curiously overlooked and offers an arguably more impressive performance as he turns his easygoing screen persona inside out and works hard to portray a conflicted series of life events for real-life former wrestler Mark Schultz.
It was hard to shake the cold, alienating feel of this film, although it was also certainly well-made and very carefully put together by filmmaker Bennett Miller and his team. It was not hard to understand why the actors have been quoted as saying it was a difficult set to work on and they didn’t want to do much of anything after the day’s shooting.
I’ll close by saying that Miller’s nomination for Best Director seems particularly well-deserved here, and it would be a very different film if he hadn’t guided the story into a unique dark and thoughtful place.
My Rating: ***
This week’s Oscar nominations have created much discussion in the blogsphere and social networking brigade. I’m not looking to add to that conversation with this post. But I am pleased that I have now seen all of the Best Picture nominees for 2014.
Selma has built up quick and impressive word of mouth since its wide release began last Friday, and that was why I went to see it last Tuesday night. The film takes a detailed look at events surrounding the mid-1960’s segment of the Civil Rights Movement, focusing on Dr. Martin Luther King Jr.’s leadership role in the saga of events in the Deep South, which eventually led to a march from Selma to Montgomery, Alabama, in 1965.
The film is exquisitely well-cast in its central ensemble of committed African-American actors portraying real people. Those that stood out for me included David Oyelwo as King, Carmen Ejogo as Coretta Scott King, and the extensive range of supporting actors around them; it was particularly cool to see former Bay Area actor Colman Domingo appear in a prominent role. I felt less agreeable about the Caucasian casting choices, such as Tom Wilkinson as Lyndon Johnson – surely there was a Texan or Southern actor who might have been more suitable? Or even someone like Bryan Cranston, expanding upon his recent stage success as the same person? Fellow British actor Tim Roth as George Wallace also seemed to be overemphasizing certain aspects of his portrayal.
Director Ava DuVernay uses a lyrical simplicity to convey the storyline of events, with many shots focusing just on the character in action, and little use of supporting objects and visual distractions. I would have preferred a few key dramatic moments to go without the musical accompaniment she chose, but I can understand why they are there. I’m undecided about her implied allegories towards recent national events, but I agree that there is more work to be done.
My Rating: ***
The film tells the story of Chris Kyle, a Texan who became known as the most successful sniper ever for the US, with “more than 150 confirmed kills in his career” according to multiple sources. Sadly, four years after ending his Army career to be with his family in Texas, Kyle was killed in February 2013, allegedly by a fellow war veteran he was attempting to help cope with PTSD.
Bradley Cooper stars as Kyle and continues an impressive run of recent acclaimed performances. Much attention has been paid to his “bulking up” for the role, but I found his use of character subtleties to be much more interesting. As Kyle, he displays an easy comfort with the role of command and methodical attention to detail in his lethal missions. But when he comes back to the USA, home of his wife (played by Sienna Miller) and growing family, Kyle doesn’t know what to make of the calm setting, literally worlds away from his war-torn “workplace”, and becomes distractedly distant. Cooper conveys this unease especially adroitly in these home-based scenes, which run the range from poignant to troubling.
I would have liked the film much more if it paid sharper focus to that tension in Kyle’s life between his role as a war hero and role as a family man. As it is expressed in the finish film, there is too much attention paid to the mechanics of the war, and it feels like a war movie, not one that is adapted from Kyle’s actual memoir. Cooper is left to convey the psychological and physiological tension over the course of several effective but brief scenes, while long stretches of the film focus broadly on the war mechanics. That’s not to say that they aren’t well-made (they are, of course, with Eastwood at the helm) but it lends the movie a different aftertaste than what might have been. I have to wonder what the story would have been like if original director David O. Russell had stayed at the helm (Three Kings 2.0?) or in the eyes of a female director, as seen in Kimberly Peirce’s underrated Stop-Loss back in 2008.
Sienna Miller deserves special mention for reaching new dramatic ground with her performance. The actress, who was better known for being tabloid fodder 5-10 years ago, has matured into a confident and assured performer. I’m sure that a close personal connection with the real life Mrs. Kyle helped her to draw the emotional truth of the role. I also look forward to seeing what Miller does next with a broader role, whether on film or on stage.
My Rating: **