Now that the Golden Globes
and other awards programs have had their say, and the Oscars are chomping at
the bit, time to weigh in again on Academy Awards contenders. See my November
blog on earlier releases (Dallas Buyers
Club, 12 Years a Slave, Captain Phillips, Gravity, The Butler, Blue Jasmine,
All Is Lost, Before Midnight, Mud, and Blue Sapphires). Below is my take on
a few year-end movies that are worth noting, some with and others without Oscar
nominations.
Nebraska is
one man's last-ditch effort to claim elusive joy from a mediocre existence that
finds him wandering the mental and physical highways of his loneliness in old
age. Bruce Dern brings a lifetime of acting experience to a role that fits like
an old pair of jeans, for a film set in director Alexander Payne's home state.
The main character's hesitant delivery, aging frame, and unflinching
determination to claim a million-dollar prize by walking to another state drives
the story right into our hearts. Poignant, humorous scenes keep us laughing and
nearly crying at the same time. We want something wonderful for Woody Grant,
who could be our uncle, grandfather, or former neighbor. And it does finally
come, but with no thanks to the relatives and former acquaintances who buzz
like vultures, eager for handouts to fill their empty lives. The loyal son
joins the journey his father refuses to abandon, and seeks to understand and eventually
deliver the simple joys of his father's dreams. Like an unfulfilled life, Nebraska is slow at times. In the end,
we're reminded that the journeys we take may not lead to what we seek, but to what
we truly desire. (As a final note, June Squibb offers a wonderful portrayal of
the curmudgeon wife, Kate, whose cemetery scene is sure to become a classic.)
The Wolf of Wall Street vibrates, undulates, regurgitates, and
activates.... I could go on. If there is a sensory passion or urge to be
imagined, it most likely found its way into this slice of cinematic genius. In
other words, the film is a roller coaster ride through the historic debacle of
the Wall Street collapse on Black Monday in the late 80s. But the true story
emerges when one clever shark circles the prey and devours everything within
reach -- without remorse, relief, or much retaliation from his victims, other
than his wife. The Scorsese-di Caprio marriage has given birth to a family of blazing
successes over the years, this one no exception. The pacing and no-holds-barred
style is reminiscent of the director's gang genre films, like The Departed and Goodfellas. Instead of
guns, bullets and corpses to move the story along, TWWS employs bogus stocks, coupled with excessive sex, drugs, and
rock 'n' roll, to keep the bucks and victims rolling in. Exhausting? Yes.
Repulsing? For sure. Entertaining? Up to a point. Big chunks we're cut before
release, but some scenes still run too long, and some excess is gratuitous. Nevertheless, Leo delivers an amazing
performance -- full of physicality and brawny exhilaration displayed in vivid
scenes that startle and stun. Jonah Hill is more than worthy as his ready
sidekick. The duo and Scorsese are deserving of nods and maybe a statuette or
two if the competition wasn't so stiff.
Inside Llewyn Davis is a quiet movie that rambles through the tough reality of the artist's
life in America where rewards are meager and hits are few. Probably the same
for artists in most other countries and genres. The film is a departure for the
Coen brothers, but not all that surprising if you recall the earnest depictions
of small town characters in past films. A sonnet dedicated to struggling
musicians in the Big Apple and beyond, the melodious story follows the
protagonist through a couple of performances, more than a couple of nights on
friendly couches, news of an unexpected pregnancy, and his accidental
relationship with a cat. A chance encounter with a promoter played by John
Goodman offers a glimpse into the business behind the ramble, but no promises
or offers to secure a future. Unfortunately, Llewyn Davis ends where he began,
in limbo, and so do we. Not the most satisfying conclusion, but maybe
that's the point. The actor is so mellow in his performance that I wondered if
I was watching a documentary, if he was the true balladeer, and this was his
actual life. Worthy of recognition perhaps. But again, there's the
competition...
American Hustle takes us straight back to the 70s, with bell-bottom pants, permed hair,
plunging necklines for women, and gold necklaces for men. Apply that fashion
mix to a dry cleaners owner, FBI agents, and a couple of dames played by Amy
Adams (the girlfriend) and Jennifer Lawrence (the wife), and we have the
perfect concoction for cooking up a heist. Bradley Cooper's character still
lives with his mother when he cajoles his boss into footing the bill for a
major sting operation that will take advantage of a couple of free-wheeling
swindlers and bring down a batch of Congressmen to boot. The winding tale spins
wilder and wilder before pairs change partners and the finale ends in a
surprise twist based on the historic plot. A top winner so far, this one could
be on a roll that doesn't stop until the Oscars have spoken.
Her is a
magical movie that takes us beyond the parameters of film as we know it and
lulls us into a hypnotic trance with a major character who never appears on
screen. In the process, we see ourselves and where we're headed, if we haven't
already arrived. Joaquin Phoenix does appear, and for most of the film we hang
out in his head, hearing what he hears and hoping he gives up his obsession
with an artificial character for the real deal. After his heart is broken, and
he's penned a few more romantic notes for the day job, he wanders into the
realm of the living, breathing, walking, talking reality that may just offer
what he's been missing. Joaquin is cast as the sensitive, vulnerable guy
seduced by Scarlett Johansson’s velvet voice. Amy Adams grounds the story with
a wholesome portrayal of the girl next door, or at least in the same LA
high-rise, to remind us that human relationships may just have the potential to
fulfill where technology fails.
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