American Hustle is an Entertaining Story about ABSCAM and the Con Game with a Great Ensemble

American Hustle (3 1/2 out of 5 Stars)

Directed by: David O. Russell (The Fighter, Silver Linings Playbook)

Written by: Eric Singer (The International), David O. Russell (Silver Linings Playbook)

Starring Christian Bale, Amy Adams, Bradley Cooper, Jeremy Renner, and Jennifer Lawrence

American Hustle starts out with a warning saying "These events happened" but maybe not exactly this way.  In the late 1970s and early 1980s the FBI ran stings they code named ABSCAM, short for Abdul Scam, the name of their front company.  This film takes these real life events, throws in their con men and women, and the game begins.

Hustle centers around Irving Rosenfield (Bale) and Edith or well Sydney Prosser (Adams) both of whom never wanted to be the victim in their lives.  Irving grew up watching his old man get pushed around with his window business, but as a young kid began the con breaking other people's windows so his dad would succeed.  Sydney, or Edith charmed her way into a job at Cosmo, and never looked back.  When the two meet at a party they fall madly in love with one another, and soon begin to run cons on people through their fake business.

While working one of their latest victims Richie DiMaso (Cooper) the two find out that he is an FBI agent, and instead of going to jail they get brought into this ABSCAM business with the FBI trying to catch other people in the con game.  What happens next is to fun to spoil, but needless to say this ensemble works so well together its hard to not smile as each aspect of the story unfolds.

Over the years David O. Russell has been a master at creating films centered around great ensembles from 1996's Flirting with Disaster all the way to this film.  Within this film their an ease to his direction, something more whimsical like his early work.  Within his last two films there was always something missing, the ensemble worked, but his direction did not feel cohesive enough or felt manipulative.  In this film O. Russell who directed and wrote the script with Eric Singer has created a much more balanced experienced that is more whimsical, and entertaining.  

The most successful thing about the film/script is defined by Bale's character himself, who defines morality as neither black and white, but rather grey.  Within this film O. Russell and Singer create more dense characters who live within the grey.  None of these characters are heroic nor do they fit within the cookie cutter modules O. Russell defined within his last two pictures, hence creating a much more rich ensemble piece.

Bale's performance was the strongest in the film, every time I watch him act I lose myself in his performances this has happened in almost every role he has taken on from The Machinist to his other film with O. Russell The Fighter.  You have to wonder if you are always being played by Irving, or where the vulnerability lies, but Bale is so convincing you can't see through the character. 

The rest of the ensemble is good, Cooper is hilarious, playing to his strength of comedic timing as an actor.  Adams is both striking to look at, but is better than I expected she plays the game as well as Irving, and there is so much strength within her performance.  The one person who did not fit into the ensemble as well was Jennifer Lawrence.  Critics have been singing her praises within this role, and she is funny, and does not do a bad job, but there is something lacking within this performance.  First and formost Lawrence's spotty New York accent is distracting; she could not pull it off.  Lawrence has always exuded maturity within her roles like Winter's Bone, and Silver Linings Playbook, but in this film she was playing a an immature person trying to be mature, and it did not work.

At the end of the day American Hustle is an entertaining film, with a great ensemble, solid direction, and great costume design.   

The Place Beyond the Pines is an Engrossing Journey of Fathers and Sons, along with the Haves and Have Nots

The Place Beyond the Pines (3 1/2 out of 5 Stars)

Directed by: Derek Cianfrance (Blue Valentine)

Written by: Derek Cianfrance (Blue Valentine), Ben Coccio (The Beginner), and Darius Marder

Starring: Bradley Cooper, Eva Mendes, and Ryan Gosling

Prior to watching this film I knew that some of it was filmed in my home town Schenectady, New York, but I did not realize the film was set in that town.  Watching the film, and seeing a police car chase on Brandywine Street, through the cemetery, and onto State Street, places I have seen many times created a built in connection to this film.  Along with this scene there were glimpses of Trustco Bank, my bank, a small bank in the capitol district of upstate New York.  The setting of this film feels like one of the characters, and ironically connects with the title.  Schenectady is Mohawk for "place beyond pine plains."  This setting helps create the backdrop to an interesting one intensely rich film.

Pines weaves together three different story connecting from start to finish the role which status and family play within different people lives.  Luke (Gosling) is with what looks like a traveling fair which goes from city to city; he is an expert motorcycle rider, riding around on his bike in a cage with others.  After meeting Romina (Mendes) years later the two have a one night stand.  Luke returns one year later to find that he has a son.  Luke quite his job in order to attempt to take care of his son, while Romina has moved on with someone else.  As Luke becomes desperate he starts to robs bank leading his story to connect with police office named Avery (Cooper).  Without giving away the direction of the film, the story spans a long period of time in which the sins of fathers come back to haunt their sons.

Throughout time there have been numerous books from the Bible to Shakespeare which give meaning to the adage of the sins of the father.  The adage I am most familiar with comes from Shakespeare's The Merchant of Venice which states  "The sins of the father are to be laid upon the children."  This is one of the common themes throughout the film which the three screenwriters explore within Pines.  While Luke is almost laden in mystery we do know that he grew up without a father, and he wants to help be there and raise his son because he grew up messed up and he attributes it to his father being absent.  On the other hand Avery's father has almost too much of an active role in his life defining him to be someone of merit and value, putting this invisible pressure on him which permeates throughout the film.  

The father son element of the film is handled excellently, especially in the third act as you get to watch Luke and Avery's sons experience their father's have or or have not done for them.  The scripts exploration of the "haves" versus the "have nots" is also handled well.  Luke comes from nothing as does Romina.  Meanwhile while Avery and his family do have money their power and influence within the system (at the beginning of the film) provide them with a launching point, which provides them with tons of opportunities.  The city of Schenectady plays a great role in creating this class distinction.  Schenectady, an old industrial town provides the vantage point of creating the great class divide, something transparent for people who do not call the place home.

Cianfrance's other work Blue Valentine is a little bit tighter with developing the relational divides, and building to the disconnect than Pines.  As the film winds down to the third act, and the focus is on both Luke and Avery's sons there is obviously still and interest in the impact of "the sins of the father" but the film starts to lose the steam momentum that penetrates throughout the beginning of the film.  I believe this lack unraveling also has to do with the young boy playing AJ (Emory Cohen) who like his film father (Cooper) loses believability with their emotions.  Cooper wowed in Silver Linings Playbook, but I lost him in this film, and his internal struggle was overwrought and conveyed too much with over the acting at times.  Meanwhile like Luke (Gosling)  both he and his film son Jason (Dennis DeHaan) exuded this ferocity within their facial expressions and quiet performances.  Gosling is a master at conveying his acting with the look (see Drive, and Blue Valentine).

The film conveys a deep emotional experience that connects you with their characters, and the journey they are which seems for all unfortunately pre-destined.  In an era where we want to break free of the class chains this film exposes the powerlessness most succumb to, and the way in which our lot in life determines our place.  Pines is a great drama, with a solid script emphasizing the way in which society and the people around us especially our fathers can define the experiences people face.

Pretty Boys and Oscar: Where Have all the Hot Men Gone?

Throughout the many years I have followed the Oscars and become an award show junky, there has been one fact that was evident, Oscar is not a huge fan of the "pretty boys."  Who are the pretty boys you ask?  Well you could also define these "pretty boys" as the attractive leading men of their time.  Throughout the year men like Cary Grant, Robert Redford,  Tom Cruise, Brad Pitt,  (and many more) would fit into this category.

Throughout the years award show expert Tom O'Neil (from goldderby.com) has cited this to be a fact, that for some reason the Oscar voters do not crown the heart throbs.  Tom has a point, and while I have never been in 100 percent agreement with the theory, the proof is in the pudding.  I am going to use the men listed  above to talk about their history with Oscar.

Cary Grant was seen as a heart throb, the leading man of his time; he not only did films like Philadelphia Story, but did some other great dramatic films like Charade, Notorious, and North by Northwest.  Grant was nominated for two Academy Awards in the Lead Actor Category, and the films were Penny Serenade (1942) and None but the Lonely Heart (1945).  Grant did not win for either film, but he did an Honorary Oscar in 1970 four years after his last credited role.

Perhaps Grant is the first example of some of the reasons the "heart throb" is never taken seriously.  Cary Grant reminds me of a modern day George Clooney he is charming and suave, and a lot of his work takes on blended comedic/dramatic elements.  Comedy is rarely honored at the Oscars.  Grant is the only one on this specific list who would fit that mold.  The other reason Grant missed out on nominations for some of his most famous works like North by Northwest, Notorious, and Charade, was because throughout the years there has been a bias against genre films.  The Academy has gotten better with this but grant could or should have been nominated for one of these films, if not them then Philadelphia Story where two of his co-stars were nominated and one of them one.

The perfect modern example of the "pretty boy" is Brad Pitt.  Pitt hit the silver screen in 1991 with a small role in Thelma and Louise, the role focused on his good looks, and focused on Pitt as a sex symbol.  This status continued, and Pitt was known as the celebrity straight men would consider s

Let's look at Grant's co-star Jimmy Stewart who wont the Oscar for Philadelphia Story.  Stewart never was seen as a "looker" he was tall skinny bean pole who was a great leading man, but was never considered to the ladies or man's choice in regards to looks.  While many may look at Grant today and think the same thing; he was in fact one of the "studs" of his time.

Let's transition from the end of Cary Grant's career when he was older and won his Honorary Academy Award to one of the major "heart throbs" of the late 60s, 70s, and early 80s. Robert Redford.  Redford was in numerous films popular and well received films during this time Butch Cassidy and the Sundance Kid (1969), The Way We Were (1973), The Sting (1973), Three Days at the Condor (1975), All the President's Men (1976), The Natural (1984), and Out of Africa (1985).

Throughout his years as an Actor Redford was only nominated once for acting Oscar for The Sting.  Of the films that received Oscar nominations (beyond The Sting) most of his female co-stars received nominations while Redford did not, Barbara Streisand (The Way We Were), Jane Alexander (All the President's Men), Glenn Close (The Natural), and Meryl Streep (Out of Africa).  You have to think that as the lead in these films Redford deserved some recognition for his acting, but he was never honored in this field.

I can already hear the dissension from folk saying "But wait didn't Robert Redford win an Oscar in 1980  Directing Ordinary People?  The answer is yes, but this started a trend where the Academy Awards loved to honor those actors who stepped behind the camera rather than showing off their pretty face on screen all the time.  Warren Beatty (who was also another heart throb) fit this model just won year later winning Best Director for Reds (1981).  Redford's leading man looks proved that he could never be taken seriously in front of the camera, but only behind the scenes.

After Redford the next example of a "pretty boy" was the young, and talented Tom Cruise.  Cruise not only made great quality films, but set the example of a box office super star.  Cruise has not only had major box office success with films like Top Gun, and the Mission Impossible series, but has been nominated for three acting Oscars.  Cruises has two Best Actor nominations for Born on the Fourth of July (1989), and Jerry Maguire (1996), and Supporting Actor nomination for Magnolia (1999).  While Cruise never had a shot for his first two nominations; he lost to two of the best working actors today Daniel Day-Lewis in My Left Foot (1989), and Geoffrey Rush in Shine (1996). Cruise had his best shot to win for Magnolia; he was the favorite with many critics wins, and a win at the Golden Globes, but eventually lost to Michael Caine in The Cider House Rules.

Cruise is started the de-glam of the pretty boy, which helped nab more acting trophies.  Born on the Fourth of July is a great example, where he transforms himself from an optimistic youth to an angry Vietnam War veteran in a wheel chair.  Magnolia also showed a different side to Cruise proving he has the chops to pull off darker material.  Throughout the years Cruise has gained attention from these "de-glam" roles, like his role as the fat movie producer in Tropic Thunder.  Cruise is a solid modern day example of the Academy still never taking the pretty boy seriously, especially with his loss for Magnolia, Cruise may have to wait until much later in his career, the way his co-star Paul Newman (another good example of his looks preventing him from a win) won for Color of Money.

Brad Pitt is the best example of the modern day heart throb.  Pitt's first major role on the silver screen was in 1991's Thelma and Louise.  While Pitt's role was small, the film focused on his ripped body, getting women and men to consider him as an object of affection.  Pitt would forever be known as sex symbol, getting even straight men to consider going to bed with him.  While over the years Pitt has proven himself more than a pretty face getting some great dramatic and comedic roles, and proving he has true talent.

Like Cruise Pitt has only been nominated for three acting trophies at the Oscars, one Supporting Actor Oscar nomination, and two Lead Actor Oscar nominations.  Pitt's first nomination came in 1995 for the film 12 Monkeys (Best Supporting Actor); he took away all the frills of his looks and "de-glammed" for this role.  Like with Cruise Pitt won the Golden Globe for this film but lost the Oscar to Kevin Spacey. Pitt's Lead Actor Oscar nominations came much later in his acting career, first in 2009 for The Curious Case of Benjamin Button, and then in 2012 for Moneyball.  The majority of his award show attention from the Oscars has come as he has aged and reached his late 40s.

These four examples are just the icing on the cake, there is Leonardo DiCaprio who was snubbed for Titanic (1997) while co-star Kate Winslet was nominated, Ryan Gosling snubbed for both Driver and The Ides of March (2012), and many more.  These are two current working actors who have recieved Oscar nominations, but have never been honored.  Are their looks to blame?  Ar Oscar voters jealous?  These men have turned in some great performances, but none have them have made it to the Oscar podium for an acting win.

George Clooney is one of the rare cases of "heart throbs" who have won Oscars for an acting performance.  Clooney did not however win in the Lead Actor Category he won for his "supporting "de-glammed" performance in Syriana.  Clooney was also nominated in two other categories this year Best Director (he was up against Ang Lee), and Best Original Screenplay (he was up against Crash-the eventual Best Picture winner).  Academy voters knew they needed to honor him so they picked the least competitive category.

This year's Best Actor race will provide the opportunity for two men who fit within this category to be nominated Hugh Jackman (Les Miserables), and Bradley Cooper (Silver Linings Playbook).  At the moment neither stands a chance of beating the method acting of Daniel Day-Lewis in Lincoln.  Maybe being a "pretty boy" is enough, but these men deserve their due, and should not have to wait until their looks fade, the way many actors have to wait.

Zero Dark Thirty Wins Big (Again) at the National Board of Review Awards

Two films scored big today, Zero Dark Thirty and Silver Linings Playbook.  Zero Dark Thirty took home three awards again, but this time instead of Cinematography, Jessica Chastain took home the Best Actress prize.  Zero looks to be the front runner at the moment for both Best Picture and Best Director, winning two prizes right off the bat (do not count out Lincoln).

Silver Linings Playbook scored two major wins, one shocker in the Best Actor category for Bradley Cooper, although I think he is the best part of the film, and a win for Best Adapted Screenplay.  The film also made the top ten list for Best Picture.  I knew this would be a film they loved, but I thought it was going to steal two different prizes (Best Picture and Actress).

Two films with no momentum gained ground today as well, Django Unchained, and Looper.  Both films made the top ten list for Best Picture, which gives them a little more attention, and they each one a major award.  Leonardo DiCaprio won Best Supporting Actor for Django, and Rian John won Best Original Screenplay for Looper.  I have high hopes the Looper wins will translate into a few Oscar nominations.

Listed Below is the full list of winners:

Best Film:  ZERO DARK THIRTY (lsted below are the top ten in alpha order)

Best Director: Kathryn Bigelow, ZERO DARK THIRTY

Best Actor: Bradley Cooper, SILVER LININGS PLAYBOOK

Best Actress: Jessica Chastain, ZERO DARK THIRTY

Best Supporting Actor: Leonardo DiCaprio, DJANGO UNCHAINED

Best Supporting Actress: Ann Dowd, COMPLIANCE

Best Original Screenplay: Rian Johnson, LOOPER

Best Adapted Screenplay: David O. Russell, SILVER LININGS PLAYBOOK

Best Animated Feature: WRECK-IT RALPH

Special Achievement in Filmmaking: Ben Affleck, ARGO

Breakthrough Actor: Tom Holland, THE IMPOSSIBLEBreakthrough Actress: Quvenzhané Wallis,  BEASTS OF THE SOUTHERN WILD

Best Directorial Debut: Benh Zeitlin, BEASTS OF THE SOUTHERN WILD

Best Foreign Language Film:  AMOUR

Best Documentary: SEARCHING FOR SUGARMAN

William K. Everson Film History Award: 50 YEARS OF BOND FILMS

Best Ensemble: LES MISÉRABLES

Spotlight Award: John Goodman (ARGO, FLIGHT, PARANORMAN, TROUBLE WITH THE CURVE)

NBR Freedom of Expression Award: CENTRAL PARK FIVE

NBR Freedom of Expression Award: PROMISED LAND

Top 10 Films and other lists after the cut.

Top Films
(in alphabetical order)

ARGO

BEASTS OF THE SOUTHERN WILD

DJANGO UNCHAINED

LES MISÉRABLES

LINCOLN

LOOPER

THE PERKS OF BEING A WALLFLOWER

PROMISED LAND

SILVER LININGS PLAYBOOK

Top 5 Foreign Language Films

(In Alphabetical Order)

BARBARA

THE INTOUCHABLES

THE KID WITH A BIKE

NO

WAR WITCH

Top 5 Documentaries

(In Alphabetical Order)

AI WEIWEI: NEVER SORRY

DETROPIA

THE GATEKEEPERS

THE INVISIBLE WAR

ONLY THE YOUNG

 Top 10 Independent Films

(In Alphabetical Order)

ARBITRAGE

BERNIE

COMPLIANCE

END OF WATCH

HELLO I MUST BE GOING

LITTLE BIRDS

MOONRISE KINGDOM

ON THE ROAD

QUARTET

SLEEPWALK WITH ME

Silver Linings Playbook is a Darker Love Story, Headlined by Strong Performances

Silver Linings Playbook (4 out of 5 Stars)

Directed and Written by  David O'Russell (The Fighter, Three Kings, I Heart Huckabees)

Starring:Bradley Cooper, Jennfier Lawrence, Jacki Weaver, and Robert DeNiro

David O. Russell's last film The Fighter was a true testament to his versatility.  The film was a little more of a by the book story that lacked the dark sense of humor present in his other films, Three Kings, Flirting with Disaster and I Heart Huckabees.  Silver Linings Playbook has blended together these two different styles.  Based on the novel with the same name by Matthew Quick, O'Russell creates a story that is both sad and touching.

The film starts with Pat Solitano (Bradley Cooper) being picked up by his mother Dolores Solitano (Jacki Weaver) from a state institution after he spent 8 months there on a plea bargain.  Pat goes back home to live with his mother and father Pat Solitano Sr. (Rober DeNiro) in Philadelphia.  As soon as Pat gets back to Philadelphia he begs his mother to take him to the library so he can pick up the books from Nikki's syllabus.  Nikki was Pat's wife, and during their marriage Nikki was found cheating on Pat with a fellow teacher.  Pat snapped and beat the guy up pretty bad, and after his time in the treatment facility he has to deal with his own undiagnosed bi-polar disorder.  

Pat feels triggers through songs, books, and interactions with his friends and their families.  As Pat tries to fight his way to re-connecting with Nikki, he ends up meeting Tiffany (Jennifer Lawrence).  Tiffany is a young widow whose husband was killed, and through her grief she has started to like Pat openly speak her mind, but also use her body and sex to cope with her own depression.  Together these two start to form an unconventional bond that may just bring out the best in them both.

The films fleshes out the characters well, and has helped to focus O'Russell's development within his career as a writer/director.  O'Russell's screenplay is spot on in the way he adapts Quick's work; he boils down the story to get at the true emotion.  While I was never a huge fan of the The Fighter, O'Russell conveyed the same skills within his screenplay for that film.  O'Russell channelled an honest representation of the way in which people cope with their own grief/mental instability, while infusing some genuine humor.  

As you watch both of the leads of screen you realize you are watching fully formed performances that evolve throughout the film.  Bradley Cooper was the given the role of his career (so far) with Pat Solitano, and he did not disappoint.  Cooper has often played that dick best friend, or just that dick in films like The Hangover, or Wedding Crashers.  While his character is not well mannered in social mores, Cooper brilliantly tackles the struggle of Pat and the way he has to fight to stay above water in order to find happiness.

Most of the happiness is due to Tiffany played impeccably by Jennfer Lawrence.  Lawrence has wowed in numerous roles like The Hunger Games, and even scored Lead Actress nomination for her work in Winter's Bone, but this is a one of a kind performance.  Lawrence is sexy, raw, and her emotional journey happens as she finds solace in Cooper's character.  Lawrence is one of the best younger actresses working today, and she nails all the intricate levels of this role.

Along with two great lead performances, O'Russell seems to use his supporting cast well, even if they are not the big named stars.  DeNiro is funny and heart wrenching as Pat Sr..  Throughout the film you get to see the similarities between both Cooper and DeNiro's characters.  DeNiro's obsession with superstition, the Eagles, while maintaining a love for his wife.  DeNiro has not had a strong performance like this in many years, but as you get to watch his evolution his blind compassionate love for his son you get a a great glimpse into who Pat Sr.  DeNiro is the shining light of the supporting cast, but people like Weaver, and Chris tucker who plays Pat's friend from the state institution help add heart to this film.

Silver Linings Playbook does not reinvent the wheel, but the script along with the acting give way to one of the most honest films about the psychology of moving forward in spite of mental illness.  There is a raw honest in the script, and in many of the performances.  While there is a darker tone the end message is that when all has gone wrong or you think you have hit rock bottom you have to look for "silver lining."

Audiences Cheer for the Silver Linings Playbook at theToronto International Film Festival

The Hollywood Reporter announced that the dramedy, The Silver Linings Playbook, won the Audience Award at the Toronto International Film Festival (TIFF). Playbook, which was directed by David O. Russell (The Fighter, I Heart Huckabees) stars Bradley Cooper as Pat Solitano a former teacher who comes back home to live with his parents after a stint in a mental institution.  While at home Pat meets Tiffany played by Jennifer Lawrence who has problems of her own, the two start to go on their own relationship adventures, but their mental status interrupts a true "happy ending."  Robert DeNiro also stars as Pat's dad.  News from TIFF is that the film played uproarious joyful applause from audiences, reminiscent of past winner Slumdog Millionaire (2008).

Over the past years the audience prizes have gone to the following films:

Where Do We Go Now? (2011)
The King’s Speech (2010)
Precious (2009)
Slumdog Millionaire (2008)
Eastern Promises (2007)
Bella (2006)
Tsotsi (2005)
Hotel Rwanda (2004)
Zatôichi (2003)
Whale Rider (2002)
Le fabuleux destin d’Amélie Poulain (2001)
Wo hu cang long (2000)
American Beauty (1999)

Last year's winner did nothing at the Academy Awards, but throughout the years this prize, along with the festival has helped build a buzz helping films garner more attention than they may have received in the past.  Of the audience prize winners Eastern Promises, Hotel Rwanda, Whale Rider, and Le fabuleux destin d’Amélie Poulain all became major players in the acting, and technical categories at the Academy Awards.  Eastern Promises got Viggo Mortensen his first acting nomination, Hotel Rwanda recieved nominations for Don Cheedle, and Sophie Okenedo, Whale Ride helped Keisha Castle Hughes pull off a shocking Best Actress nomination and Amelie was 6 time nominee with nominations in the technical categories and foreign language category.

On the other hand TIFF helped The King's Speech march on The Social Network, and win 4 Oscars including Picture, Director, and Lead Actor. Slumdog Millionaire took home 8 Oscars including Picture, Director, and Adapted Screenplay.  American Beauty won 5 Oscars including Picture, Director, Lead Actor, and Original Screenplay.  Precious was the other film on this list that scored wins, two wins, one for Mo'Nique in the Supporting Actress category, and the Best Adapted 
Screenplay.

Where does this leave Playbook in the hunt for Oscar?  Well of the first two festivals of the year, Venice and TIFF, both films that won at each were from The Weinstein Company.  The Master, which won at Venice, will be a much bigger hit with the critics, while Playbook will make a bigger showing at the Globes etc.  Could this be another David vs. Goliath like 2010s Speech vs. Network (both Weinstein films).  There is potential.  Russell's Fighter was well respected netting two major Oscars, this bodes well for him this year.  Paul Thomas Anderson's last film There will be Blood, was one of the most nominated films and grabbed two Oscars as well, for Lead Actor and Cinematography.  So who wins in this battle.  My guess is Argo, the Ben Affleck picture, but only time will tell, and the Oscar race is off to an interesting start.