Wonder Wheel (2017)

23 Friday Feb 2018

Tags

1950's, Affair, Coney Island, Drama, James Belushi, Juno Temple, Justin Timberlake, Kate Winslet, Review, Romance, Woody Allen

D: Woody Allen / 101m

Cast: James Belushi, Juno Temple, Justin Timberlake, Kate Winslet, Max Casella, Jack Gore, David Krumholtz

At one point in Wonder Wheel, Mickey (Timberlake), a lifeguard at Coney Island (and the movie’s narrator), gives Ginny (Winslet), the married woman he’s having an affair with, a book of plays by Eugene O’Neill for her birthday. Once upon a time, Ginny was an aspiring actress, until she met and married a drummer. That relationship ended when she had an affair, and now she’s in the process of cheating on her second husband, ‘Humpty’ (Belushi), a carousel operator. Ginny works as a waitress in a restaurant on the boardwalk; she’s already unhappy in her marriage, and has a young son from her first marriage, Richie (Gore), who likes to set fires. She’s struggling to hold onto her hopes and dreams, and Mickey’s attentions are a way for her to do that. Fast approaching forty, and trapped in a marriage of convenience, Ginny is desperately looking for happiness. But a book of O’Neill’s plays? How much more of a clue as to whether or not Ginny will find the happiness she seeks does an audience need?

Woody Allen’s latest is one of his serious movies, a drama that starts off by showing the surface glamour of Coney Island in the 1950’s, before quickly going behind the scenes and revealing the hardships and the despair that exist just a short distance from the lights and the attractions. ‘Humpty’ has a daughter, Carolina (Temple), who left home five years before to marry a gangster. Now she’s back, having left him but also having been “marked”; she’s hoping her established estrangement from her father will mean no one will look for her there. But when Carolina meets Mickey, Ginny sees her chance for happiness coming under threat. Ginny’s desperation increases, and her behaviour becomes more erratic than usual. Unable to help herself, Ginny begins to alienate everyone around her, and when the opportunity arises to do the right thing, the decision she makes has profound, and irreversible, consequences. It’s a simple premise, confidently set up and handled by Allen, but also one that feels more like an abandoned stage play than an original screenplay. This also means the movie has the look of a theatrical production at times, and Vittorio Storaro’s cinematography stutters back and forth between interior and exterior scenes with all the dexterity of an artist who can’t decide on natural or artificial light.

But production issues aside, this is Winslet’s movie through and through. Ginny is an emotional trainwreck, only taking responsibility for her actions when it will bring her sympathy, and defending herself by attacking others. She’s an ersatz Blanche DuBois, hurting instead of loving, and Winslet gives a driving, intense performance that is in many ways out of place within the movie because it overhadows everything else that Allen comes up with. And Winslet is on such tremendous form that her co-stars have no choice but to run to keep up. Belushi and Temple are good in roles that aren’t quite as well developed as Winslet’s, but Timberlake is the odd man out as Mickey. He never looks comfortable in the role, and in his scenes with Winslet, the gulf between them is highlighted every time. In the end, Allen elects to leave many of the sub-plots and storylines unresolved, especially the one involving Richie, which goes nowhere and seems included just to pad out the running time. Otherwise, the movie’s open-endedness proves unexpectedly satisfying, and though this may not be a prime example of Allen’s more recent output, thanks to Winslet’s superb performance, it’s a movie that deserves a look, if for no other reason than that.

Rating: 7/10 – featuring Winslet on incredible form, Wonder Wheel tells its story as if it had been written in the 1950’s but has been given a modern day makeover; the milieu has been lovingly recreated by production designer Santo Loquasto, Allen remains a dependable if unexciting visual artist, and for once the romance doesn’t have such a pronounced age gap.

Inside Llewyn Davis (2013)

26 Sunday Jan 2014

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Audition, Carey Mulligan, Chicago, Drama, Ethan Coen, Folk music, Gaslight Café, Greenwich Village, Joel Coen, John Goodman, Justin Timberlake, Llewyn Davis, New York, Oscar Isaac, Relationships, Review

D: Ethan Coen, Joel Coen / 104m

Cast: Oscar Isaac, Carey Mulligan, John Goodman, Justin Timberlake, Garrett Hedlund, Adam Driver, Stark Sands, Jeanine Serralles, F. Murray Abraham

The Coen brothers have led a remarkably charmed cinematic life, making quirky, offbeat movies featuring all sorts of weird and wonderful characters in all sorts of weird and wonderful situations. Part of the fun to be had from watching a Coen brothers movie is that you never quite know what’s going to happen next; the Coens are so unpredictable there’s always that element of surprise in every movie, even something as outwardly formulaic as The Ladykillers (2004) or True Grit (2010). It’s a real surprise then, to find that the main character in their latest melancholy opus, Inside Llewyn Davis is, to put it mildly, a bit of a shit.

The movie is set in Greenwich Village, New York in 1961. Davis (Isaac) is a folk singer, eking out a career in clubs but without a clear idea on where he’s heading. He doesn’t have a place to live, so he sofa hops from place to place, trying the patience of friends and acquaintances, and never really repaying their kindnesses to him. He scoffs at the performances of others, including folk duo Jim (Timberlake) and Jean (Mulligan), but fails to see the weakness in his own abilities, weaknesses exacerbated by the recent death of his singing partner. Davis is horrible to just about everyone around him, foisting his unhappiness on them with all the fervour of a man trying to offload his troubles as fast as he gains them. His relationship with Jean becomes complicated when she tells him she’s pregnant and he might be the father. But Davis is so wretched she would rather have an abortion than give birth to a child that might be his. While he tries to deal with that issue, he’s also trying to deal with having lost his friends, the Gorfeins, cat. (When he takes a replacement cat back to them, it leads to one of the best lines in a Coen brothers movie ever.) Taking a chance he can kick start his solo career in Chicago, Davis travels with proto-beat poet Johnny Five (Hedlund) and musician Roland Turner (Goodman) to audition for promoter Bud Grossman (Abraham). What he learns there has the possibility of changing his life.

From its darkened, confessional-style opening at the Gaslight Café with Isaac proving himself to be a passionate vocalist, Inside Llewyn Davis is a fitting tribute to the era when folk music was at a turning point (see the singer who follows Davis on stage at the movie’s end). As well, though, it’s a clever, witty and engaging look at a man for whom Life is a constant struggle, but only because he hasn’t developed the ability to be happy. Thanks to a terrific performance by Isaac, Davis isn’t entirely the angry curmudgeon he appears to be. There are glimmers of hope throughout the movie that elicit the audience’s sympathy for him, and if he buries those glimmers almost as soon as they pop up, it’s still enough that they happen for him. Davis is like the black sheep of the family or the troubled friend you secretly like – despite all the times they upset you or let you down – and hope Life will eventually be kind to. For Davis it’s all about the music, the only thing he truly cares about, and around which his life revolves; without it he would be a truly broken man.

Once again, the Coens have chosen a strong supporting cast for their leading man, with Mulligan’s angry turn a standout, and Goodman close behind as the disabled, anecdote spouting Turner. It’s good to see the likes of Driver and Sands given the chance to shine in small, beautifully realised roles, and Abraham too, albeit in a smaller though more pivotal role (and obviously fitted in between episodes of Homeland). A wintry New York looks cold and yet somehow vibrant thanks to crisp, striking photography courtesy of Bruno Delbonnel, and the period detail is subtly evoked by Jess Gonchor’s production design and Deborah Jensen’s art direction.

What is less obvious from this review so far is the humour that permeates the movie. Davis may be an awkward, unlikely source of merriment, but the Coens weave comedy into the somewhat solemn proceedings with deceptive skill. There are laughs to be had, and they’re scattered here and there in the script like precious jewels. And then there’s the music. Perhaps closest to O Brother, Where Art Thou? (2000) in terms of dramatic importance, the music in Inside Llewyn Davis is extremely well chosen, both for reflecting the state of Davis’s life, and for providing a candid view of the folk music scene at the time (check out the wonderfully daft Please Mr. Kennedy, an ode to world peace performed by Isaac, Timberlake and Driver that amazes as much as it amuses). As already noted, Isaac has a commanding vocal style, and his deep, rich, melodic delivery suits the material well; it’s hard now to imagine anyone else in the role.

Rating: 9/10 – a richly detailed movie that delights and impresses in equal measure; confident, absorbing, and wickedly funny in places, Inside Llewyn Davis confirms once more that when it comes to off-kilter, the Coen brothers are in a class of their own.

Runner Runner (2013)

10 Friday Jan 2014

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Ben Affleck, Costa Rica, Crime drama, FBI, Gambling, Gemma Arterton, Justin Timberlake, Online gaming, Review, Thriller

D: Brad Furman / 91m

Cast: Justin Timberlake, Ben Affleck, Gemma Arterton, Anthony Mackie, Michael Esper, Oliver Cooper, Christian George, Yul Vazquez, John Heard, Bob Gunton

Supporting his financial outlay at university by acting as a facilitator for an online gambling organisation, Richie Furst (Timberlake) is ratted on to the Dean (Gunton) who gives him an ultimatum: either quit or be expelled. Richie’s response is to bet all his remaining money on an online gaming site; when he loses it all he suspects the game was rigged. When he finds proof, he determines to travel to Costa Rica – where the site is based – and show the site’s owner, Ivan Block (Affleck), what he’s found. Grateful for Richie’s information, he offers him a job which Richie accepts. Now living the high life, Richie begins to woo Ivan’s personal assistant (and ex-lover) Rebecca (Arterton). While Richie enjoys his new lifestyle, things begin to crumble around him. He is targeted by FBI agent Shavers (Mackie) who tells him Block is a scam artist. Two of his friends who came to work for Block on Richie’s recommendation begin to find strange anomalies in the way Block’s site is run. When one of them ends up beaten to death, Richie finally begins to realise the enormity of the situation he’s got himself into.

Advertised as a thriller, Runner Runner certainly has thriller elements, but largely this is a crime drama that keeps the actual crime so far off screen that it might as well not be there. That Block is running a scam seems of little consequence against the effect it has on Richie; the movie concentrates almost exclusively on how Richie is betrayed time after time, and then how he retaliates. There’s a larger story here with the possibility of a much wider drama being explored, but the script by Brian Koppelman and David Levien keeps things restricted to Block’s empire, with occasional side trips to island enforcer Herrera (Vazquez), the man Block has to pay in order to keep his business running.

What doesn’t help is the incredible naïveté that Timberlake is forced to adopt due to the laziness of the script. For someone attending Princeton, Richie is possibly the dumbest student you’re ever likely to meet. He falls for Block’s spiel hook, line and sinker, and even when he’s tricked time and time again, he still carries on as if Block’s assertions are just “part of the job”. Even when he realises how much trouble he’s in he tries to escape back to America, something agent Shavers has already told him would not be permitted. And then, when he agrees to help the FBI and the Costa Rican police bring down Block, he’s suddenly able to turn the tables just…like…that.

Making online gambling interesting is something the movie also fails to achieve, and a few over-the-top parties that Block hosts aside, there is little glamour here. Costa Rica is a beautiful country but you wouldn’t know it from the glimpses you get of it, and Arterton, who has a pouting attractiveness, is relegated to the sidelines for most of the movie. So what you end up with is a movie that looks and feels bland and uninteresting, and as a result, ends up disappointing its audience in almost every scene.

Furman directs with an indifference to the material that makes you wonder if he saw the problems ahead of time and decided just to take the pay. Timberlake sleepwalks through most of his scenes, while Affleck looks embarrassed by some of the dialogue he has to (try to) give credibility to. Arterton is wasted, Mackie tries too hard and gives a one-note performance, and Heard is saddled with a character so similar to his role in Sharknado (2013) it’s almost embarrassing. With no one trying very hard either in front or behind the camera, Runner Runner is doomed to fail from the very first frame.

Rating: 4/10 – a silly, shabby drama with pretensions toward being a thriller, Runner Runner is the cinematic equivalent of roadkill; a low point for all concerned that will be hard to beat.