A Trip To The Movies – Review: “American Sniper” 1.17.15

Let’s face it Clint Eastwood hasn’t directed a great film in a decade. His last really good film was his 2004 masterpiece – “Million Dollar Baby” which was an absolutely stunning achievement garnering Academy Award nominations in almost every category, including a well deserving Best Actress win for Hilary Swank. This is an especially important thing to highlight because Eastwood’s creative output (a film every other, sometimes twice a year) has been at an all time high during these past 10 years. His back to back War films “Flags of Our Fathers” and “Letters from Iwo Jima” (2006) both were failures, both from a cinematic stand point and in terms of box office revenue, and little to next to nobody I know saw either one of them. Then came maybe his best yet still underwhelming year in 2008 with the release of both “Changeling” and “Gran Torino”. Both semi worthwhile efforts despite having their fair share of flaws. 2009 brought us his first collaboration with Matt Damon, the sports drama “Invictus”, an Eastwood effort that I skipped as it didn’t pique my interest in the slightest, that and I’m not particularly a fan of films that cast Damon in the lead role. 2010’s “Hereafter” I too skipped as it was a poorly reviewed film that featured another collaboration between Eastwood and Damon once again in the lead role. The year after he released the J. Edgar Hoover biopic “J. Edgar” (2011) featuring a stand out Leonardo DiCaprio performance in what was an otherwise long, tedious, and boring film. Enter 2014 and Eastwood planned to release another 2 films – the first based on a book about Frankie Valli and the Four Seasons called “Jersey Boys” which featured no well-known actors and got mediocre to below average reviews, and basically flew under the radar of just about everyone I know (most people I talk to didn’t even know it was an Eastwood film). This being his latest film, which looked like it had some serious promise after revealing one of the better looking and well constructed trailers I had seen all year. That and the “surprise” Oscar nominations this past Thursday morning recognizing it for both Best Picture and star Bradley Cooper in the Best Actor categories quickly catapulted it from a “I’ll probably see that movie once it comes out in the theater” to a “how quickly can I get to the theater to see it” status. I then bought my advance tickets the night of the announcements, expecting the crowds to look like something similar to that of the newest “Hunger Games” release. All of that aside, I can’t say I had the highest of expectations for it, as it looked like it had the workings to either be a great film, or yet another Eastwood disappointment.

The film introduces us its real life based on a true story character Chris Kyle. A Texas man who spends most of his time at the bull races trying his best to make a living as a cowboy. His then current relationship quickly dissolving and he begins feeling unfulfilled as to where his life is heading. Like most people, he doesn’t seem content on just “being”, and strives to look for something more out of life and for himself (a lesson he is taught at an early age by his father in a flashback dinner scene with both him and his younger brother). Chris decides at a rather late age of thirty to enter the Navy, and in a montage showing him and other recruits going through basic training, it seems like he is tailor-made to be suited for his new calling as he is everything the military represents – he’s a man of high moral value that stands for loyalty, discipline, and dedication to the cause. Not to mention he’s an expert marksman. During one weekend he meets a young woman (played by the increasingly impressive Sienna Miller, who played another high-profile role this past year in Bennett Miller’s “Foxcatcher” as Mark Ruffalo’s wife). They seem like a perfect fit and soon after decide to get married (in one of the first of many great scenes that I thought clearly exemplified a soldier’s loyalty to their cause over that of their own family – a major theme and focus of the story). Chris and his new wife quickly get accustomed to their newly married, domesticated lifestyle, only to have Chris get deployed for his first of four tours. The film then quickly transports us to the Middle East, where we see Chris as a Navy Seal sniper picking away at militants in combat. The camera looking up the barrel of his gun and square into his eyes as he picks off his targets right and left. Chris becomes an almost martyr-like hero to his peers as he continues to save life after life with his expert skills as a sniper. But at what cost will all of this have on Chris’s psyche and even more importantly, will it have on his increasingly distant wife and children, who seem to be deeply affected by Chris’ absence as he goes back and forth between tours in the Middle East and being back stateside with his family.

This is a landmark achievement between director Clint Eastwood and star Bradley Cooper and it turned out to being something much more than I had expected which was a pleasant surprise. There are many things I’d like to point out about this film that I liked, but I’ll try to keep it to just the essentials. First off, it’s an incredible character study with Cooper in his career best performance to date. I thought he was great in “Silver Linings Playbook” (2012) and good in “American Hustle” (2013) (but didn’t think he deserved a Best Supporting Actor nomination). But this film puts him on a new platform as an actor. His restrained, subdued, yet expressive performance is nothing short of amazing. He also put on about 40 pounds of muscle (which looked to be about double that) to play the role, and is almost unrecognizable as his normal baby face appearance is transformed into someone much more tough and rugged. Which is a true testament to Cooper as an actor as you can tell he must have totally immersed himself into the role. Unlike Steve Carell in “Foxcatcher”, despite the transformative physical appearance, there is an undeniable sense of serious acting chops underlying his performance from within. The second thing I wanted to point out is that it feels nothing like a standard Clint Eastwood film, who tends to follow a lot of stereotypical Hollywood movie tropes with his usual lyrical narrative approach to storytelling. There is very little here that resembles that. Though a couple of minor criticisms I had of the piece is that some of the scenes at home felt melodramatic and laid the sentiment on a bit too thick. That and I thought they downplayed the relationship between Chris and his younger brother. Outside of that though I thought it was an incredibly confidently directed and assuredly shot piece of filmmaking, and is both compelling and captivating from start to finish. Which is remarkable given that Eastwood is in his later years and we may only get another film or two out of him until he retires from moviemaking all together. The scenes of Chris during his tours of duty are visceral, gripping, taut, and utterly intense. One could only imagine the difficulty of this shoot as the “sniper scenes” were filmed brilliantly giving the viewer fly on the wall access to the proceedings. Lastly, and what surprised me most, was how it defied my expectations, particularly when it came to how Chris’ heroism is portrayed. I thought at the hands of Eastwood it could have had some serious potential to fall into flag waving American propaganda territory. Had it of been depicted in this way which I honestly thought it might I would have most likely liked it a lot less than I did. But there was nothing even remotely glorifying the Navy Seals and/or military, as many of them including Chris, are faced with difficult ethical and moral decisions in scenes both inside and outside of war that I thought were presented rather deftly by Eastwood and the rest of his writing team. The last thing I thought to be rather profound, that in a fully packed sold out theater, not one person clapped when the house lights came on and the credits rolled. Every person piled out and exited the theater one by one like zombies and it was so quiet you could hear a pin drop. I think they like me, were so moved by the experience of what they had just seen, that they had a hard time coming up with much of anything to say. Which is why you’ll always hear me encouraging people to see movies at the theater or cinema, as it truly is one of the few last remaining communions we have. A place where a group of people can have a collectively shared, present moment experience. And this was another perfect example of that. Ladies and gentleman, even at the tender ripe young age of 84, Clint Eastwood is back.

[B+]

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Review: ‘Rob The Mob’ 9.30.14

 

Every now and then I find myself in the mood for a bit more lighter fare than what I’m normally used to. Since I’m so used to constantly being let down by comedies maybe more than any other genre, I rarely take the leap of faith needed to check one out unless it comes from a recommendation from someone whose opinion I trust. Though with this movie I more or less just came across it. No one told me about it,  I didn’t read anything on it, nor did I see it advertised anywhere. However I did see that it got some fairly decent favorable scores on a couple of movie sites I check out occasionally. So I thought I’d give it a shot. That and I really like Michael Pitt. My first introduction to the talented young actor was in the American version of Michael Haneke’s “Funny Games” (2007) where he did an excellent job playing one of two young men who terrorize an upper class family. He’s gone on to do some strong work in both the TV series “Boardwalk Empire” and played a very small bit part; yet a memorable one, in 2012’s “Seven Psychopaths”. I don’t know if it’s the Leonardo DiCaprio quasi look-alikeness that I like about him or if I geniunely think the guy’s got chops (probably the latter). But really any movie that looks remotely interesting where he’s cast as the lead I will likely check out. Which was the case with this one. Plus, I heard it was a “crime comedy”. So I was hoping for something like Jonathan Demme’s “Married To The Mob” (1988). I also happened to notice comparisons to both “Bonnie and Clyde” and “Goodfellas” on the poster. But knowing very well that those quotes are usually written in hyperbole I still figured oh well what the hell I’ll give it a shot. Hopefully it will surprise me.

It’s a simple enough setup. One that’s based on a true story and took place in New York City in the early 1990’s. We’re first introduced to Tommy (Pitt). Tommy is a degenerate small time crook with a crack cocaine problem who is in love with a girl who more or less is his mirror image. He sticks up small businesses who they themselves hardly make any money for a living. We’re not talking about the sharpest tool in the shed here so it’s only inevitable that he’s going to get caught. And does. The film then cuts to 14 years later when Tommy is released from prison to his girlfriend, who is played suprisingly well by an actress who I hadn’t heard of up to this point named Nina Arianda. These two lovers attempt to “go straight” but because of financial reasons are forced to go back to their old ways. He devises a not so smart idea of robbing the Italian Social Clubs in the city, many of whom have Mob affiliations. After a string of hold-ups, Tommy stumbles upon one club whose boss “Big Al” (played by the always serviceable Andy Garcia) finds out and puts a bounty on his head. Though Tommy comes across something the FBI desperately needs. That and the FBI looks at what Tommy’s doing as what they refer to as a kind of “public service”. The FBI’s “hey better him than us” attitude provides for some pretty solid laughs. Almost as if the FBI gives him free reign to do whatever he wants as long as he’s robbing all of the local town crooks. So in doing so, Tommy begins to misgude both the FBI and the Mob, all while he and his girlfriend start to become almost local celebrities, and attract the attention of a reporter (Ray Romano, who like Garcia, is serviceable in the role). Both entities soon start to tighten up. Especially because the FBI is honing in on Garcia’s character who is a well known big time crime boss. One that in his aging years is trying to go straight and any opposing forces to this will be dealt with accordingly. While Tommy appears to be having a nice run, his time also seems to be running out.

This movie functions fairly well as a whole, even if at times it did feel a bit contrived and cliched. But I think that’s slightly to be expected given a movie like this. The script is mildly clever, and the actors (especially Pitt and in a come out of nowhere and very funny Griffen Dunne) all do a pretty good job in their respective roles. There are quite a few laughs, particularly in the scenes involving Pitt sticking up the Mob. Along with an effective ending that felt like something out of a Hollywood fairy tale that ends tragically. All of these things allow me to give it decent marks. Though as the film develops, specifically near the end, it grows increasingly more and more prepostorous. There’s also that flashback thing movies do only in this case some of it is intertwined with real footage. Making the fake and real flashback scenes slightly difficult to discern from each other. Had they of just left that device out entirely I thought it would have been a lot more effective. But, even still, there’s enough to like here that makes it a worthwhile experience. Especially if you like small, indepedent, charming, lite fair comedies. Just don’t expect anything you’re going to want to write home about.

Grade: B-