Movie Review Maestro

Maestro (2023) 

Directed by Bradley Cooper

Written by Bradley Cooper, Josh Singer

Starring Bradley Cooper, Carey Mulligan. Maya Hawke, Matt Bomer 

Release Date November 22nd, 2023 

Published ?

There are many things to like about Bradley Cooper's Maestro. This biopic of legendary composer Leonard Bernstein is incredible to look at. Cooper and his cinematographer, Matthew Libatique, and production designer, Kevin Thompson, have put exceptional craft into the movie. Several of the films scenes simply pop off the screen in composition, detail, and the use of color. There is no denying that Bradley Cooper has a wonderful directorial eye aided by an exceptional team behind him. Where Maestro falters, sadly, is storytelling where the tenets of the movie biopic restrict and restrain. It's as if there was simply too much life in Leonard Bernstein to be constricted to the film form. 

Maestro begins its story with Leonard Bernstein being interviewed about his life and reflecting mostly on his beloved wife Felicia. Then we are thrown into a flashback, black and white, a young and eager Leonard Bernstein gets the phone call that will change his life. The main conductor of the New York Philharmonic is ill and cannot perform. His replacement is snowed in upstate. The 25 year old Bernstein with no rehearsal time, will have to fill in. He crushes it, he delivers an incredible performance that skyrockets his career. 

Meanwhile, in his private life, Bernstein is enjoying life as a gay man in New York, collaborating on various musical projects and spending time with his lover, David Oppenheim (Matt Bomer). These moments are brief but show a playful and wildly creative Bernstein constantly in creative mode, in the flower of his youth. Soon after however, he's met a woman at a party. Her name is Felicia (Carey Mulligan) and the two spark immediate chemistry. It's never stated that Bernstein is bisexual and the movie is remarkably vague on this point, perhaps because, until late in his life, Bernstein himself was vague on this point. 

The two undergo a whirlwind romance accompanied by Bernstein's remarkable successes on the stage, screen and as a composer of numerous symphonies. A lovely scene has Bernstein take Felicia to the stage where a musical he's working on with Jerome Robbins is rehearsing. The two get swept up in the dance rehearsal before being pulled apart. The symbolism rages aloud in this scene as the two sides of Bernstein's sexuality are pulled in different directions, one toward Felicia, one away from her. Dancers keep pulling both in different directions with Felicia imagining a man who might have taken her from Bernstein earlier in their life. It's an exceptional and exciting sequence that demonstrates Cooper's terrific direction. 

Find my full length review at Geeks.Media 

Movie Review Guardians of the Galaxy Vol. #3

Guardians of the Galaxy Vol. #3 

Directed by James Gunn 

Written by James Gunn

Starring Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Pom Klementieff, Karen Gillan, Sean Gunn, Will Poulter, Vin Diesel, Chukwudi Iwuji 

Release Date May 5th, 2023 

Published May 3rd, 2023 

Guardians of the Galaxy Vol. #3 arrives at a strange time for a Marvel movie. The Marvel film universe appears, in many ways, to be in decline in relevance and popularity. The biggest stars such as Robert Downey Jr, Scarlett Johansson, and Chris Evans, have left the MCU and the fan base is growing impatient with how the latest phase of this universe is unfolding. Add to that, Guardians writer-director James Gunn who has already abandoned Marvel to take over the leadership of the D.C Film Universe even as his final MCU movie is only now arriving in theaters. 

Guardians of the Galaxy Vol. #3 is feeling like a bit of an afterthought. Intended as a coda to James Gunn's little corner of the Marvel Universe, the film has the feel of an afterthought as well. The villain pales in comparison to Kurt Russell's towering Ego in Volume 2, the lack of the Peter Quill-Gamora dynamic feels like a pivot that no one in the Guardians universe wanted to make but were forced into, and what has replaced that dynamic here feels quite slapped together and unwelcome. 

The story of Guardians of the Galaxy Vol. 3 picks up on an outpost called Knowhere. The Guardians and their allies are regrouping for their next gig, saving the universe when someone brings the fight to them. Adam Warlock (Will Poulter), glimpsed in a post-credits sequence in Volume 2, comes to Knowhere with the intent of kidnapping Rocket (Bradley Cooper). He's here on the orders of the Grand High Evolutionary (Chukwudi Iwuji), the man who created Rocket many years earlier. 

The Guardians turn back Warlock but not before he nearly kills Rocket. The rest of the plot will center on the gang having to enact a heist to steal the plans they need to save Rocket's life. This will involve a reunion with Gamora (Zoe Saldana), now a member of The Ravagers, who has no memory of her other life as a member of the Guardians. She's a completely different person than the Gamora the Guardians knew and she angrily asserts just how much she doesn't know the family she'd had in another life. She's willing to help out of sympathy for her sister, Nebula (Karen Gillan), but she'd rather killer Peter than listen to any of his memory of who she might have been before. 

Find my full length review at Geeks.Media 

Movie Review: All About Steve

All About Steve (2009) 

Directed by Phil Traill

Written by Kim Barker

Starring Sandra Bullock, Bradley Cooper, Thomas Haden Church, Ken Jeong

Release Date September 4th, 2009

Published September 4th, 2009

You don't watch a movie like All About Steve as much as witness it. Like a crime in progress or a car accident, you were there, you were slightly traumatized and later, in a daze of disbelief, you recounted your experience to authorities. All About Steve is such a remarkably bad movie that it may actually be an insult to a car wreck to make the comparison.

All About Steve began life as a drama about a mentally challenged woman whose syndrome involves an obsession with crossword puzzles. Through a pity blind date she meets a man who was unaware that he was going out with a handicapped person. After being accosted by her, he tries to reject her in a way that spares her feelings. Instead, he stokes her fire and she begins a cross country trek to show her love for him.

It was to be a dramatic journey of self discovery for this spunky mentally challenged gal and a role that would deliver to whomever played it; a chance to show real dramatic range. Somewhere along the line things were derailed in a fashion that even Amtrak could not imagine.

OK, I was lying about the film's origin as a drama. As far as I know, All About Steve is everything its creators intended it to be. It is a broad, boneheaded, nonsensical romantic comedy about one crazy person chasing a sad wretch across state lines aided by people of similar diminished mental capacities. What anyone saw in this remarkably misguided screenplay is truly baffling. 

Sandra Bullock stars as Mary. She somehow subsists as a crossword puzzle creator. We are told that this is her only job and that she only publishes in one paper, once a week. If there is a newspaper in this country paying a crossword puzzle maker a living wage for one days work then I think we know why the papers are going out of business.

Mary has no social life. So, her meddling parents set her up on a blind date. This poor, doomed soul is Steve played by Bradley Cooper. Subjected to 10 minutes with Mary, in which she says about a million words and attempts to have sex with him, before they have even pulled away from the curb of her parents' home.

Steve blows her off nicely but saying he has to work and 'wishes she could come' he unwittingly sets himself on a path to disaster. Soon, Mary is fired from her job for somehow publishing an all Steve crossword (How did it get in the paper? All she did was drop it off? Did they fire all the editors but keep the type setter and and the wacko crossword chick? Logical questions are not welcome here.), Mary hits the road to follow Steve to work.

Work for Steve is as a cameraman for a fictional cable news outlet. His reporter pal, Thomas Haden Church, thinks Mary the stalker is a funny prank and encourages her by repeatedly telling her where the crew is headed next. Mary follows to a protest involving a baby with three legs, a hurricane/tornado and finally to a sinkhole that somehow swallowed several deaf children.

The three legged baby, if you don't get the joke already, is one of a number of juvenile jokes in this blisteringly stupid movie. A baby with three legs is the subject of protesters who want to the leg cut off and those who don't who then get to chant 'save the third leg'. If you need the joke explained maybe you are the audience for this movie.

Wildly moronic, utterly inept and a just plain disaster, All About Steve is not merely one of the worst films of 2009, it's a candidate for worst of the last decade. Poor Bradley Cooper seems absolutely lost in the morass of this idiocy. Sandra Bullock on the other hand indulges every last moronic twist.

I could almost recommend this bizarrely horrendous movie just for the explanation that Bullock as Mary gives for her blindingly red boots. It's a brief bit of dialogue but it is so astoundingly doltish that you can't help but indulge a condescending, ear splitting, gut laugh, not quite what the movie intended for this moment.

If I see a movie as bad as All About Steve again this year, I may have to quit the critic biz. There is a limit to the mindblowingly awful that one person can endure. I think I am safe. All About Steve sets such a high bar of badness it would be remarkable if anything could approach it.

Movie Review The Hangover

The Hangover (2009) 

Directed by Todd Phillips

Written by Jon Lucas, Scott Moore 

Starring Ed Helms, Zach Galifianakis, Bradley Cooper, Heather Graham, Justin Bartha 

Release Date June 5th, 2009 

Published June 5th, 2009 

The glitz and glamour of Las Vegas has long been a tempting target for the movies. But, rarely has the ever so carefully un-wholesome Vegas mantra "What Happens in Vegas, Stays in Vegas" been better explored than in the brilliant new comedy The Hangover. Directed by Old School's Todd Phillips, The Hangover is male arrested development and Vegas debauchery at its finest.

Four pals travel to Sin city with plans to drink and gamble and be back home with a day to spare before one of them, Doug (Justin Bartha) gets married. Those plans go out the window fast as a night of PG-13 debauchery takes an X-rated turn and the groom ends up missing.

The story picks up the day after the debauchery when Doug's pals Phil (Bradley Cooper), Stu (Ed Helms) and Andy (Zach Galifianakis) awaken in their high roller suite to find a purloined tiger in the bathroom, a baby in the closet and one missing groom. They remember nothing of the night before and have to piece the night together from available evidence.

A medical bracelet tells them they took a trip to the hospital. A valet claim card delivers the police cruiser they evidently stole and a photo tells them that Stu married to a complete stranger. The trip to the hospital, the cop shop and the chapel lead to more bizarre revelations as we follow on a debaucherously amateur detective story.

The story is inventive in the way it continues to spin the boys' behavior out into new and ever more outrageous action but what really sets The Hangover apart are the three actors at its center. Bradley Cooper plays the handsome ladies man as a wannabe bachelor bitter about having given up his freedom for marriage. He is the traditional lead in a comedy of this sort but Cooper gives the role an edge by blending into the ensemble and truly being one of the boys.

The Office co-star Helms is the nebbish nerd with a harridan girlfriend (Rachel Harris) whose so henpecked he has to say he's in wine country instead of Vegas and has some real tap dancing to do when the trip is extended by another day. Helms gets the privilege of playing opposite the radiant Heather Graham as the proverbial hooker with a heart of gold who may be the key to him leaving his old life behind.

And then there is Zach Galifianakis. The enigmatic comic, known for making the great Steven Wright look cheery in comparison when on the stand up stage, is the breakout star of summer 2009.

Roger Ebert fairly compares Galifianakis to John Belushi in Animal House. It's that iconic. Zach's Andy is a wealth of comic non-sequiturs and manages to make a character generally played as a creep into a sweetheart of a man-child whose naïve observations and physical carriage are parts of the funniest performance of the summer.

The Hangover is arguably the funniest movie of 2009. Destined to break out the pack thanks to its absurd amount of laughs and slightly tweaked take on material that seems more familiar than it really is. It's essentially a road picture filled with human caricatures, recognizable types who should work through a mechanical plot to a rote end. Not the case here where the mechanics are twisted and turned in such surprising and hilarious ways.

This is one time where you will welcome a Hangover.

Movie Review Limitless

Limitless (2011) 

Directed by Neil Burger

Written by Leslie Dixon 

Starring Bradley Cooper, Abbie Cornish, Robert De Niro, Anna Friel 

Release Date March 8th, 2011

Published March 7th, 2011

"Limitless" might have been more aptly titled 'Plot Device: The Movie.' The little clear pill that drives the film's star Bradley Cooper infuses him with whatever ability is needed at any given moment in the movie. At one point, when Cooper is assaulted by thugs in the subway, the pill lends him the ability to tap his memory for some Kung Fu he saw on TV years ago and the agility to employ it with force.

Now, as fun as it would be to be able to recall a little Bruce Lee and employ it viciously and at will this bit of wish fulfillment is all there is to "Limitless," a threadbare pseudo-thriller that relies on this limitless device for all of it's narrative force.

Wish Fulfillment

Eddie Morra (Cooper) is a loser, plain and simple. He lives in a dump of an apartment and while he has a contract to write a novel, he hasn't written a word. His girlfriend Lindy (Abbie Cornish) sees him for what he is and as we meet her she is dumping him. Things are looking very bleak when Eddie bumps into an old friend with a secret.

Vernon (Johnny Whitworth) is a drug dealer who Eddie knows through his very brief marriage years earlier. Vernon's secret is a new drug he is pushing that he claims is legitimate, even FDA approved. The clear pill with no marketable name allows the user to access portions of his brain not usually accessed.

God in the Machine

After a brief bout of worry, Eddie indeed takes the pill and the effect turns him into a superman of intuition, charm and motivation. Naturally, he will need more of this but to maintain his fix will take him into Eddie's dangerous world of drug dealers, loan sharks and into another, even more untamed frontier, Wall Street; where traders rob each other in ways somehow deemed legal.

I want this pill, I really do, and that identification with Eddie is enticing but it doesn't change the fact that director Brad Furman and screenwriter Leslie Dixon are working with the ultimate 'God in the Machine,' better known in Latin as 'Deus Ex Machina.' The pill allows Eddie and eventually Lindy, an easy escape from any danger and that removes a great deal of the story tension.

A Distinct Lack of Tension

Why worry about characters that can just take a pill and have all of their problems become easy to solve. There is a distinct lack of tension that plagues "Limitless" right to the very end. To be fair, there is one scene; one in which Cooper loses his magic pill, which has significant tension as Eddie is forced to do something unthinkable and entirely unpredictable.

One scene however does not excuse an entire film so blatantly based on a cheap device. Limitless is simply too easy going about it all. Star Bradley Cooper is too comfortable in the confines of this plot cheat, wielding it all with a confidence that only magnifies how shabby it all is.

If you're someone who doesn't like to think when you are at the movies, "Limitless" might just be the movie for you. The pill doesn't just help Eddie do anything; it helps the audience as well taking away all of that pesky sifting of plot details or deciphering of mysteries and especially all of that scary anxiety that comes when a movie challenges an audience.

Movie Review: Yes Man

Yes Man (2008) 

Directed by Peyton Reed 

Written by Nicholas Stoller, Jarrad Paul, Andrew Mogel 

Starring Jim Carrey, Zooey Deschanel, Bradley Cooper, John Michael Higgins

Release Date December 19th, 2008 

Published December 18th, 2008 

In Liar Liar Jim Carrey played a lawyer who could not tell a lie. This, naturally, lead to a number of awkward situations that allowed Carrey to whip himself into a comic frenzy. Now in his latest feature Jim Carrey plays a loan officer who must say yes to everything. If you think this premise allows Carrey to once again whip himself into a wild comic frenzy, you may as well skip the rest of this review. I'm kidding, please keep reading.

Carl has been a sadsack since his wife left him 3 years ago. He rarely leaves his apartment and when he does it is just to rent videos. His best friend Peter (Bradley Cooper) is getting married and expects him to be there for him but even his best pal can't drag him out his funk.

It is not until he attends a self help seminar, at the urging of a strange former acquaintance, Nick (John Michael Higgins), that Carl finally comes out of his shell. The seminar is hosted by Terrence Bundley (Terrence Stamp) whose schtick is getting people to say yes to every opportunity.

With some further prodding from Nick, Carl says yes to giving a homeless man a ride miles out the way. The homeless guy uses up Carl's cell battery and the drive runs him out of gas. However, while filling a gas can Carl meets Allison (Zooey Deschanel). They have instant chemistry and Carl finds the yes to everything strategy could have some real perks.

From there we get a series of scenes that allow Jim Carrey to act more and more goofy and have more and more good things happen to him. That is until, the predictable scene where saying yes finally gets Carl in trouble. A valuable lesson in moderation will be learned while Carrey all the while flips and flops about in search of laughs.

To be fair, Carrey finds plenty of laughs in Yes Man. The guy is a natural comic talent who can't help but stumble into laughs and Yes Man is a movie designed specifically to play into Carrey's strengths. Each scene gives Carrey reason to launch into some kind of comic riff. Some of them are laugh out loud, some, like a Harry Potter themed costume party, lay there in search of a punchline.

The structure of Yes Man may play to Carrey's strengths but the choppy, predictable narrative is in the end terribly unsatisfying. A series of set ups and punchlines fail to serve as a character arc or really a story. There is romantic chemistry between Carrey and Zooey Deschanel but that too is undercut by the lack of a compelling narrative.

Funny in bursts but short one compelling story, Yes Man is a movie for hardcore Carrey fans and no one else.

Movie Review The A-Team

The A-Team (2010) 

Directed by Joe Carnahan

Written Joe Carnahan, Skip Woods, Brian Bloom 

Starring Liam Neeson, Bradley Cooper, Rampage Jackson, Sharlito Copley 

Release Date July 10th, 2010

Published July 10th, 2010

It seems like such an awful idea. Another cheesy TV show getting a big screen treatment? Ugh. But, then the makers of “The A-Team” made some very sly moves. First they hired writer-director Joe Carnahan (Narc) to rewrite the script and direct. Then they brought in Liam Neeson, just off of his badass turn in “Taken,” and Bradley Cooper, hot off his star-making role in “The Hangover.”

Even better, the producers nabbed Sharlto Copley hot off of surprise Oscar nominee “District 9” and plucked UFC star Rampage Jackson from the hottest sport in the country to take on the iconic role made famous by Mr. T. Each move was spot on and the final product, while not great cinema, is a near perfect summer movie, a smart blend of action, star power and over the top fun.

Hannibal Smith (Liam Neeson) is a longtime Colonel with the elite Army Rangers. With his team, including Lt. Templeton 'Faceman' Peck (Cooper), Captain H.M 'Howling Mad' Murdock (Copley) and Corporal Bosco 'B.A' Baracus, Colonel Smith have run successful missions around the globe.

The latest mission takes the so-called 'A-Team' to Iraq where stolen mint plates could allow bad guys to print unlimited amounts of American currency. The A-Team must retrieve the plates and the money from an armored transport crawling with armed insurgents. This task turns out to be the easy part.

The hard part comes when Smith and his team are double-crossed by American mercenaries for hire who kill the General who sent the A-Team on their mission, steal the plates and leave the A-Team to take the blame. Under arrest and court martial from the military, Hannibal Smith and his team will need to escape if they want to clear their names and seek revenge against those that set them up.

On opposite ends of this conspiracy are CIA Agent Lynch (Patrick Wilson) and Department of Justice Investigator Charisa Sosa (Jessica Biel). Lynch was there when Smith was given the assignment to retrieve the plates and turns up to help the team escape prison. Sosa was the one who warned Face not to take the assignment, and ended up arresting the team and leading the search to recapture them. She, of course, also has a history with Face.

The plot is a mere litany of set up, big explosion, brief aftermath and repeat. It's all very easy to follow and never intrudes on the true intent of “The A-Team,” which is to provide goofball, over the top, summer movie action and fun. Though not entirely brain free, “The A-Team” will not be mistaken for great cinema; it exists and succeeds on a different path, as a well-crafted nostalgia product.

Director Joe Carnahan is a master of clever carnage, setting his stage for big explosions and surrounding the massive special effects with lighthearted character scenes, aided greatly by a game cast. Liam Neeson, Bradley Cooper and Sharlto Copley have endless fun with these goofy, charming characters. UFC fighter Rampage Jackson is fun as well but his strain as an actor, especially opposite such natural performers, is quite noticeable.

The smartest aspect of The “A-Team” is never attempting to be more than it is. This is a goofy Summer Blockbuster that aspires to nothing more than thrilling special effects and clever, funny action and character bits. The best of the bunch has the team escaping a crashing plane inside a tank with parachutes and using the tank's gun to aim the falling tank toward a lake for a safe landing all while defending themselves from attacking drone aircraft.

“The A-Team” will leave you shaking your head at how completely off the charts goofy it is, but you will be smiling the whole time. The terrific cast seems to be having as much fun playing these goofy scenes as we have watching them and director Joe Carnahan corrals all of the charm and chaos of “The A-Team” into one terrific summer blockbuster.

Movie Review Silver Linings Playbook

Silver Linings Playlist (2012) 

Directed by David O. Russell

Written by David O. Russell

Starring Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jackie Weaver, Chris Tucker

Release Date November 16th, 2012 

Published November 15th, 2012 

Manic people can change the temperature of any room they are in with their mood. Not literally of course, but anyone who's been in a room with a manic personality has experienced the unbelievable warmth and good humor that moments later becomes an icy cold stare based on something only the manic personality is aware of.

The dramatic comedy "Silver Linings Playbook," written and directed by David O. Russell is the rare film to capture this unique change in temperature. Bradley Cooper's Patrick is a manic personality whose mood swings seem to control the very atmosphere of any room he inhabits.

White Knuckle Determination

Pat was once just a chubby Philadelphia schoolteacher with a struggling marriage and a mental illness he kept in check through white-knuckle determination. That determination was not enough to keep Pat from nearly murdering the man whom he caught having sex with his wife in his own home when he came home from work early one day.

Cut to eight months later and Pat is being released from a mental institution. Pat's mother Dolores has, against doctor's orders, decided to take legal responsibility for him and bring him home. Unfortunately for Dolores, Pat has no interest in following the rules of his release, including taking his meds and seeing a shrink. Instead, Pat intends to get in shape and win back his wife; regardless of the restraining order she has against him.

Manic, Filter-less, Motormouth

Pat's plan is altered greatly by the introduction of Tiffany (Jennifer Lawrence), a manic personality in her own right, though not nearly as volatile as Pat. Tiffany's manic nature comes from the sudden death of her husband. Months of having people step lightly around her and her problems, Tiffany finds Pat's manic, filter-less motor-mouth refreshing.

Tiffany then sets her heart on winning Pat over. Here is where writer-director David O. Russell really begins to get comfortable with this story. The first 30 to 35 minutes of the film he establishes Pat's nature via his relationship with his parents, Dolores, the cheerleader and his father Pat Sr. (Robert DeNiro), who's own anxieties are a clear influence on Pat's nature.

A Lively, Strange Romance

Once Pat and Tiffany become the center of the story "Silver Linings Playbook" becomes a lively, strange romance with the off-beat rhythm of Russell's under-appreciated "I Heart Huckabees" and the rom-com warmth of his oddball romance "Flirting with Disaster." One can also see the commercial influence of Russell's greatest hit, the Academy Award nominated "The Fighter," in the late moments of "Silver Linings Playbook" and the combination is thrilling to watch.

"Silver Linings Playbook" is the perfect David O. Russell movie. The characters are a reflection of his interests, flawed, struggling human beings striving to be better while often standing in their own way. Pat strives toward what he calls a 'Silver Lining' and it is a credit to Russell that this aphorism is never really explained and only means something to Pat.

Appealing and Entertaining

Bradley Cooper's performance in "Silver Linings Playbook" can easily be overlooked. Much of Pat's manic personality is expressed through Russell's camerawork and the brilliant classic rock score that feels as if it is emerging from Pat's fevered mind. That said, it's Cooper who has to convince you fully of Pat's volatile qualities as wells as his relatable, lovable qualities and he does that in a most appealing and entertaining way.

Cooper is aided greatly by a generous performance by Academy Award nominee Jennifer Lawrence. We find a strange sort of balance in Pat when he's with Tiffany and while we recognize it immediately, it's exciting to watch Pat slowly realize it throughout the rest of the movie. These two damaged souls are perfect together and unlike so many romantic comedy pairings, that perfection isn't forced into being but allowed time to breath and build.

The Return of Robert DeNiro

Add Robert DeNiro's finest work in years and you have quite a remarkable movie. Over the last decade, I had come to believe that DeNiro was coasting on his own legend. Watching some of DeNiro's recent work you see an actor not fully engaged, an old man too tired to do the work needed to transcend the way he did as a younger, fresher and more committed performer.

Something in the direction of David O. Russell lit a fire under DeNiro in "Silver Linings Playbook" and for the first time since maybe "Goodfellas" that twinkle in DeNiro's eye is more than just the memory of his past greatness. The passion and energy that DeNiro brings to Pat Sr. matches the volatility and sadness of Cooper's manic character and the father son dynamic they create is both awkward and illuminating.

Director and Character Unite

It's easy to suggest that "Silver Linings Playbook" comes from a very personal place for David O. Russell. Outside of his writing and directing Russell is known for his volatility with actors and critics. It's easy to speculate that Russell finds something of himself in the character of Pat and it gives him an insight into the character that others may not have. It would be foolish to diagnose Russell manic or bi-polar from afar but the evidence presented in "Silver Linings Playbook" indicates an insight others don't have.

Were Russell to share a degree of Pat's illness it would only serve to deepen the film's final act. As Pat finds something akin to peace, maturity and perspective, so has Russell seemed to gain something similar over the arc of his career. "Spanking the Monkey," "Flirting with Disaster,"Three Kings" and "I Heart Huckabees" were made by an uncompromising artist committed to a very specific vision and willing to physically defend that vision. Then, after reaching his most volatile with 'Huckabees,' a new perspective and maturity took hold and led to "The Fighter," his greatest success.

"Silver Linings Playbook" has the best of both of David O. Russell's worlds. The vision that made Russell an artist and the maturity that made him successful. The parallel journey of director and character in "Silver Linings Playbook" is remarkable to watch and part of what makes this one of the best movies of 2012.

Movie Review American Sniper

American Sniper (2014) 

Directed by Clint Eastwood 

Written by Jason Hall 

Starring Sienna Miller, Bradley Cooper 

Release Date December 25th, 2014

Published December 21st, 2014

One scene in “American Sniper” wraps up who Chris Kyle truly is. Set atop a rooftop in Iraq, among a group of other snipers protecting a convoy, Chris Kyle spies a chance to kill a rival sniper. This rival sniper, a former Olympic shooting champion from Syria, has been picking off American soldiers from an incredible distance for some time now.

The rival sniper is about 1000 yards away and Chris can just barely make out his presence from a brief flash of light. The shot is nearly impossible but what makes the situation even more dangerous and compelling is that Kyle cannot make the shot without tipping off nearby insurgents to the presence of American soldiers on the rooftop.

Here is where Chris Kyle is truly revealed: will he take the shot and compromise his own safety and that of his fellow snipers for the chance to kill his ultimate rival? All at once we come to know Chris Kyle as competitive, dangerous, loyal to a fault, vengeful, protective, arrogant and devoted to a very particular cause: protecting the men on the ground.

Kyle takes the shot and remarkably, though 1000 meters away, he does take out his target. The shot then alerts the insurgents who quickly converge on the building. In this moment a new Chris Kyle is born, a vulnerable, frightened and remorseful man who in the midst of the coming chaos calls his wife to declare that he’s ready to come home. Bear in mind, in this moment, there is no guarantee that he will leave this rooftop.

Bradley Cooper infuses this scene with gut wrenching authenticity. Chris Kyle’s time as a soldier ends in this moment and the grief, relief, fear and catharsis arrive in waves. Director Clint Eastwood amps the scene with powerful, confident angles, quick cuts between Kyle, his wife back in Texas, an approaching sandstorm and the blur of faceless enemies rushing into the building.

The tension of this scene exhausting in the best possible way as we have been on a rollercoaster of emotion already and the scene plays like the last major climb and climactic drop. Many of us will never know the exhilarating fear brought about by actual life or death combat and this scene is likely as close as we will ever get.

Many critics have claimed that “American Sniper” is a jingoistic celebration of a warmonger. This dismissal of the film ignores the many conflicting emotions at play in the rooftop scenes. In the space of several minutes Chris Kyle is revealed as a man of great determination, skill and patriotism as well as a man who is quite vulnerable, dangerously competitive and arrogant and carrying enough guilt to have developed a death wish.

It’s not clear if Chris Kyle wants to die, the call to his wife seems like an indication of something to live for, but here he is initiating a situation that very likely will get him killed. That he is willing to die so that others may live is noble but the scene does not portray a noble sacrifice but rather a man in a fit of pique, defying orders with an agenda all his own. To this point, Chris Kyle has been a model soldier and yet he defies orders and likely got men killed in his single minded pursuit of his own goal.

Clint Eastwood and Bradley Cooper do not cower from the uglier side of Chris Kyle’s life in “American Sniper” and the rooftop sequence is a fine example of their complex and thoughtful take on his life. At every turn of “American Sniper” we in the audience are invited to see to Chris Kyle and make up our own mind whether we find him heroic or not. This is not hagiography, as the rooftop sequence indicates, this is one of the most raw and honest portrayals of the complexity of being a soldier ever put to screen.

Movie Review He's Just Not That Into You

He's Just Not That Into You (2009) 

Directed by Ken Kwapis 

Written by Abby Kohn, Marc Silverstein 

Starring Ben Affleck, Jennifer Aniston, Drew Barrymore, Jennifer Connelly Bradley Cooper, Justin Long 

Release Date February 6th, 2009 

Published February 5th, 2009

A book based on a line of dialogue from a TV show goes on to become a massive bestseller and adapted into a major motion picture. Shouldn't the TV writer get the credit? After all, Michael Patrick King, the Sex and the City writer and his staff, were the ones who came up with this bit of mini insight. Comedian 

Greg Behrendt merely filled in the margins around that line with banal generalizations, a few John Gray Mars and Venus cribs, and humor aimed at the lifeless Lifetime TV movie crowd. It was that episode of Sex and the City about Berger telling Miranda what men really think that had the 'He's Just Not That Into You' epiphany.

And let's be real here. There was more insight into relationships in that one 22 minute Sex and the City episode than there are in the 300 some pages of Greg Behrendt's book and the nearly 2 hour movie based on it. Skip the movie and the book, let's watch Sex and the City. Unfortunately, I had to see the movie and what a chore it is. Despite one of the most impressive casts this side of a Love Boat-Fantasy Island crossover episode, He's Just Not That Into is a brutal exercise in monotonous, whiny neuroses. If I wanted that I would tape my therapy sessions.

Ginnifer Goodwin is the ostensible lead of He's Just Not That Into You and the poor girl makes a sad, sad spectacle of herself as Gigi the whiniest and most neurotic of a cast full of whiny neurotics. Her Gigi can barely read street signs, forget the subtle signals of human interaction. When she goes out on a semi-decent date with Conor (Kevin Connelly) she seems normal, just a little clueless about the signs that he isn't really that into her. Later, as she waits for him to call for another date she spends endless, ear splitting minutes detailing exactly why she is certain he will call again, including a mind numbing dissertation on the banal phrase 'Nice meeting you'.

Needless to say, Conor doesn't call back. That however may or may not have anything to do with the supremely needy vibe that Gigi puts out, but because he is obsessed with Anna (Scarlett Johansson) a girl he slept with once and now hangs out with while not getting any anymore. He cannot understand why they aren't sleeping together anymore even though they still hang out. Anyone else want to wack this guy with a baseball bat? With his pal Alex (Justin Long) he rehashes a brief conversation he had with Anna over the phone, who he called right after his date with Gigi, and how she said she would call him right back but didn't.

Anna, you see, was at a grocery store and struck up a flirtation with Ben (Bradley Cooper) just as Conor was calling. She jumped off the phone with Conor despite the wedding ring on Ben's finger. Further, despite that ring, she pushes the flirting, getting his card ostensibly so he can pass it along to an agent friend of his, she's a singer. Ben is able to control himself for a little while though he and his wife Janine (Jennifer Connelly) have been arguing throughout the massive redecoration of their new home. She wants to talk tile patterns and whether he has actually quit smoking and he just wants to have sex with Anna.

All of these various troubled relationships are presented in the most general fashion with little character development and no really interesting dialogue. Director Ken Kwapis and writers Abby Kohn and Marc Silverstein definitely do justice to Greg Behrendt's book but in so doing, they are left with the same lackluster, limp dating advice that populates that absurdly popular book. Kwapis is a terrific television director, he's done some fine work with The Office but in features, yeesh. His resume includes Beautician and the Beast and, ugh, License To Wed.

Then again, he also directed the original Sisterhood of the Traveling Pants which is a movie of great warmth, humor and empathy, all of which is absent from He's Just Not That Into You. Then again, Sisterhood is based on a much better book than He's Just Not That Into You. Not that I have read Sisterhood of the Traveling Pants, I have read He's Just Not That Into You and I feel very comfortable making the assumption. Ken Kwapis has some talent, how he has made such terrible films, and one pretty good one, remains a mystery to me.

Ben Affleck, Jennifer Aniston and Drew Barrymore round out the all star cast of He's Just Not That Into You and they seem like they may be in entirely different movies. Affleck and Aniston actually escape the dreary humor free children mincing their way through this abyss of stupidity that is He's Just Not That Into You. As a couple who've been together for seven years without getting married they are saddled with the same mindless problems of the rest of the cast but they are onscreen so little and neither allows for any real whining about their problems, they miss out on the sad fates of the rest of the cast.

Poor Drew Barrymore arguably gets it the worst of anyone in arguably the smallest role in the movie. Shoehorned into the plot as Anna's best friend, Drew has a technology problem. With her MySpace page, her cellphone, her home phone, her work phone, her home email, her work email, she has to check every one every few minutes to get updates on her latest relationship. It's exhausting to be rejected in so many forms and she longs for the days of an answering machine. Ugh! Can someone just get this girl a blackberry? An IPhone? Something! Honestly, if modern tech is this hard for you, just give up. Go live in a cave somewhere.

And Drew's role is minuscule compared to Ginnifer Goodwin's Gigi who, if she were a real person, would likely have died from forgetting how to breathe. This is one of the most dull witted characters ever brought to the screen. I like Goodwin, she's an attractive girl who I know is not this mentally challenged. The character she is saddled with in He's Just Not That Into You is a flibbertigibbet moron who could barely read traffic signals, forget body language or even a direct answer from a guy telling her he is never going to call her.

Ladies, this movie is meant for you and the people who made it think that Gigi represents you. They think all of these ludicrous, brain-dead morons stand in for a type that you can relate to. This is what Hollywood thinks of you. If that is not a massive insult I don't know what is. Granted, the men in this movie don't get off easy, Kevin Connelly's Conor is pathetic beyond words, Bradley Cooper's Ben is pathetic and a jerk and Justin Long's Alex is arguably more clueless than anyone else in the film, likely because he is the stand in for Author Behrendt, as the advice giver of the group.

It is Alex who advises Gigi, regarding Conor, that 'He's Just Not That Into You' and fails to communicate that to her because he wasn't writing it on a brick and clubbing her with it repeatedly. His banal generalities about why men do what they do and why women don't get it are the thesis statement of He's Just Not That Into You and they boil down to nothing more insightful than that simpleminded title.

Movie Review: Case 39

Case 39 (2009) 

Directed by Christian Alvart

Written by Ray Wright 

Starring Renee Zellweger, Callum Keith Rennie, Bradley Cooper, Jodelle Ferland, Ian McShane

Release Date October 1st, 2010 

Published November 15th, 2010

There was really no good reason for “Case 39,” the horror thriller starring Renee Zellweger, to have sat on the shelf for 3 years. The film is no game changing original in the genre but compared to the kind of horror flotsam that slips into nationwide release on a regular basis in the US, “Case 39” is harmless and forgettable enough that it should have passed through theaters without issue several years ago.

Instead, “Case 39” arrives with the undue burden of a heavy coat of dust that muddies the perception of the film's inherent qualities. It's fair for an audience to wonder what the studio saw in the film that made them want to hold it back and that thought leads to the fair perception that “Case 39” is a royal stinker which it is not.

Emily Jenkins (Renee Zellweger) is a social worker with a lot on her plate. She has 38 open cases of potential child abuse and neglect to deal with when her boss Wayne (Adrian Lester) drops a 39th case on her desk. Naturally, Emily is put off by the new assignment but being the dutiful investigator she is soon at the home of the troubled little girl Lilith (Jodelle Ferland) and her disturbed parents Edward (Callum Keith Rennie) and Margaret (Kerry O'Malley).

Though her visit turns up no direct evidence of abuse, Emily's instincts are that Lilith is being abused and needs more attention and care. She moves the investigation along off the books with the aid of a friendly detective, Mike Barron (Ian McShane), and eventually catches the parents in the action of trying to kill Lilith.

Lilith immediately connects with Emily, even as Emily tries to make clear she has no instinct for parenting. Soon, Lilith has convinced Emily to bring her home to her modest suburban abode and just as soon afterward things start going from serene to weird to drop dead terrifying for Emily and any one in her life from co-workers to Mike the cop to her potential boyfriend, Doug (Bradley Cooper), who becomes a particular target.

It does not take a triple digit IQ to figure out where this story is going. Director Christian Alvart (Pandorum, Antibodies) directs “Case 39” with all of the nuance subtlety of a jackhammer. Alvart's direction of Ray Wright's insultingly simpleminded script signals each twist and turn of the plot with heavy-handed music cues and dimwitted direction.

This would be surprising considering that screenwriter Ray Wright also delivered the clever and thrilling screenplay for the 2010's update of “The Crazies.” Then, one remembers that “Case 39” is going on 4 years old and well before Wright had truly developed his talent. The same could be fairly said about director Alvart who followed up “Case 39” with the dull but efficient sci-fi horror flick “Pandorum.”

Renee Zellweger remains a talented and compelling actress who knows how to draw an audience to her. “Case 39”sadly is just too dopey for even someone of Ms. Zellweger's talent to work around. The plotting is clunky and perfunctory. The supporting players, no matter that they are played by talented familiar faces like McShane and Cooper, are little more than cannon fodder and Jodelle Ferland while cute, cannot carry the burden of a plot that is so poorly drawn.

All of that said, “Case 39”is better, more professionally crafted, than much of the garbage that has been playing to empty theaters in the time that “Case 39” has been gathering dust. I could name at least 100 films far worse than “Case 39” that did not have to carry the burden of being abandoned by it's studio for three years. Is “Case 39” good enough that you should buy a ticket? Maybe not, but if you've bought tickets for such lesser fare as “Piranha 3D” you may as well pledge a little money to “Case 39.”

Movie Review The Hangover Part 2

The Hangover Part 2 (2011) 

Directed by Todd Phillips 

Written by Craig Mazan, Scot Armstrong, Todd Phillips 

Starring Bradley Cooper, Zach Galifianakis, Ed Helms, Ken Jeong, Justin Bartha, 

Release Date May 26th, 2011 

Published May 25th, 2011 

The working theory for "The Hangover Part 2" is '˜if it ain't broke, don't fix it.' The '˜it' in this case is the basic premise from the first film which is tweaked only with a location change. The characters, the jokes and even a few of the scenarios are almost exactly the same as they were in the original "The Hangover." And yet, "The Hangover Part 2" is truly as funny as or funnier than the original.

Stu's Getting Married

Stu (Ed Helms) is getting married and because his bride's (Jamie Chung) parents are from Thailand the wedding will be taking place there. Phil (Bradley Cooper) and Doug (Justin Bartha) are both coming to the wedding but Stu is not surprisingly reticent about inviting Allen (Zach Galifianakis). After all, Stu still puts napkins over his drinks since the first film, out of fear of being rufied again.

After a little pleading from Doug, Allen is invited and, no surprise, at all it happens again. The how and the why are part of the fun so I won't spoil it for you. The guys end up in Bangkok with, of all people, Chow (Ken Jeong), the gangster who the guys accidentally kidnapped in Las Vegas. This time, Chow is Allen's plus one at the wedding much to Stu's surprise.

Where's Teddy?

Among the slight changes to the original are of course the location and the missing guy. In the original they lost Doug, this time it's the bride's little brother, a 16 year old pre-med student named Teddy (Mason Lee). As in the first film our heroes have no memory of the night before and must retrace their wild night to figure out where Teddy is.

"The Hangover Part 2" is only slightly more outrageous than the first film but the few moments that go beyond the original film go well beyond. Do not go in thinking that director Todd Phillips and company have run out of ways to shock you because "The Hangover Part 2" goes places that would make "The Hangover Part 1" uncomfortable.

Paul Giamatti in, Liam Neeson out

Watch out for Paul Giamatti in a cameo as well as Mike Tyson but the much talked about Liam Neeson cameo is out. Director Todd Phillips has a funny cameo but you likely wouldn't recognize him, few people actually know what directors look like unless their name is Speilberg or Hitchcock. Nevertheless, Phillips is an over the top natural.

"The Hangover Part 2" rehashes just about every scenario from the first film, including seeing far too much of Ken Jeong sans clothes, and throws in a monkey for good measure. Zach Galfianakis once again steals scene after scene with his sweet, naive maniac act. Galifianakis plays the role of Alan so well that just a tilt of his head is enough to get a big laugh.

It's not for the faint of heart and definitely not for kids'"really, movie theaters shouldn't be allowed to show Hangover Part 2 in the same building as Kung Fu Panda 2, just to be safe--but I do recommend "The Hangover Part 2" for some very big, very outrageous laughs and a good deal of nostalgia left over from the first film.

Movie review: The Mule

The Mule (2018) 

Directed by Clint Eastwood 

Written by Nick Schenk 

Starring Clint Eastwood, Bradley Cooper, Laurence Fishburne, Michael Pena, Dianne Wiest, Andy Garcia 

Release Date December 14th, 2018 

Published December 13th, 2018 

Clint Eastwood’s career has been thought dead before but never by this critic. Never, until now. After suffering through his ‘experimental’ 15:17 to Paris earlier this year and now the misbegotten, The Mule, it feels as if Eastwood’s career as an auteur director is unquestionably over. Gone are the days of Unforgiven, Mystic River and Million Dollar Baby, deliberate and painstaking mood pieces that mixed character and drama brilliantly. 

Now we have movies like The Mule where the diminishing returns of Eastwood’s cranky old racist character have finally reached their ugly nadir. The Mule is Eastwood at his most tone deaf, and I’m not talking about his political incorrectness, this is a full fledged failure and not some political screed. The Mule isn’t merely proudly un-PC, it’s downright anti-intelligent. Where Eastwood used to be able to make up for story flaws with strong film-making, his ear for dialogue has gone deaf and his eye for visual flair is nearly blind. 

The Mule stars Eastwood as Earl Stone, a famed grower of Day-lilies. There is no need to remember this detail, it will play no role whatsoever in the movie. It’s an extraneous detail that plays like a failed rough draft that was never corrected in rewrites. That explanation may also work to answer Eastwood’s embarrassing early scenes in which he attends a flower show and delivers non-sequitur dialogue that would make Tommy Wiseau wince in recognition.

Earl chose flowers over his family, choosing the flower show over attending his daughter’s wedding The movie is so clumsy in detail that it makes it seem as if Earl has shown up at the wedding, he’s at a bar where there is a wedding party, before cutting to his having missed it and not speaking to his daughter (Alison Eastwood) again for more than a decade. He somehow manages to have a close relationship with his granddaughter, Ginny (Taissa Farmiga), though how he managed that without speaking to his daughter for most of the girl’s life is another clumsy detail in a series of dropped plot threads. 

Again, none of this matters to the central plot of The Mule. Yes, Earl’s strained relationship with his family, including his openly antagonistic relationship with his ex-wife, Mary (Dianne Wiest), is supposed to inform his character’s decisions in the main plot but the story is so muddled that he could have jettisoned the family story and it would not have altered the main narrative one iota. The Mule is shockingly lazy that way. 

The main plot of The Mule finds Earl down on his luck with his flower farm in foreclosure. Desperate for money, Earl accepts a shady job from a lowlife friend of his granddaughter. The job involves getting paid big money to drive drug shipments from Texas to Earl’s home city of Peoria, Illinois. Earl is perfect for the job because as an old white man driving a pickup truck, he is the single least likely person on the planet to get pulled over. That's not intended as trenchant observation of Police corruption however, that's more this writers observation than anything the movie characters have considered. 

No joke, he drives without a seat belt on for most of the movie and is never in danger of being stopped by police This could be a great opportunity to examine privilege and stereotypes but Eastwood shows no interest in exploring why an old white guy seemingly never has to worry about being questioned by authorities. Instead, the film appears to be a comic drama about Eastwood singing country songs in the cab of his truck while delivering load after load of illicit drugs. 

There is, I guess, some danger in the plot. The drug dealers threaten Earl’s life a lot and wave guns around a lot but he doesn’t react to any of it, as if age means that you don’t fear death or being beaten by drug dealers anymore. As much as money is his motivation, boredom could also play a role in Earl’s choice to become a mule. There appear to be no stakes on the line for Earl who uses his advanced age as an excuse to do whatever he wants. 

Perhaps that’s meant to be funny, Earl’s give no you know what attitude. Indeed, Eastwood could have been playing for laughs but there is nothing in Eastwood’s direction that indicates he’s being anything less than serious about this story. Just because it is terribly clumsy doesn’t mean it isn’t also dour in that way that bad melodramas are always dour as a way of seeming more dramatic than they really are. 

The Mule is downright dreary as it trudges to a finish that is unpredictable only because it is so messy it’s impossible to predict where we are headed. The film has no narrative momentum, it has no forward motion at times, scenes start, linger and peter out before being replaced by another. The scenes of Eastwood driving and singing along to old country and pop songs are endless and repeated to a torturous degree. 

Eastwood’s decline as a director is stunning. I won’t attribute it to his age because I still believe him capable of delivering a good movie. I think the issue is that he no longer cares for making movies. It’s my feeling that he likes keeping busy and collecting paychecks. 15:17 to Paris and The Mule are movies from a filmmaker who has nothing better to do and decided that making a movie with his buddies is a good way to pass the time.  Here’s hoping Mr. Eastwood had a better time making The Mule than we did watching it.