Movie Review Barbie
Movie Review: Drive
Drive (2011)
Directed by Nicholas Winding Refn
Written by Nicholas Winding Refn
Starring Ryan Gosling, Carey Mulligan, Oscar Isaac, Albert Brooks, Bryan Cranston, Christina Hendricks
Release Date September 16th, 2011
Published September 15th, 2011
Ryan Gosling is arguably the best actor working today. His performances in the last year in a diverse slate from the romantic comedy "Crazy, Stupid, Love" to the thriller "All Good Things" to the romantic tragedy "Blue Valentine," have demonstrated Gosling's chameleon-like ability to melt into any role and give life to a variety of fascinating characters.
Gosling's latest performance is arguably his best. "Drive" Stars Ryan Gosling as The Driver. We never learn his name, nor do his unique clients. The Driver spends his days as a Hollywood stunt driver and his nights as a wheelman for high paying criminals. The Driver gives the criminals a five minute window to commit their crime. Within that window he will drive them anywhere and keep them from the cops.
The Driver lives a quiet and very private life making certain not to form relationships or attachments that could imperil his objectivity. Naturally, we know that will change and he does, slowly but surely when he meets Irene (Carey Mulligan). Irene is his neighbor and has a small child that The Driver strikes an immediate friendship with.
The budding romance is cut short with the revelation that Irene's husband/baby daddy Standard (Oscar Isaac) is getting out of prison and coming home. Here, director Nicholas Winding Refn twists our expectations by playing the predictable showdown between The Driver and Standard quietly and thoughtfully.
Gosling betrays The Driver's true feelings for Irene with his eyes but his actions are a different matter. In a departure from his code of non-involvement, The Driver comes to Standard's aid and attempts to get him out from under a debt to criminals who had protected him in prison. This departure by The Driver will prove costly and the rest of plot unfolds from there with an unexpectedly violent flourish. Drive is stunning in its violence, evoking the calculating yet gory viscera of David Cronenberg's "A History of Violence" and "Eastern Promises."
The influences exhibited in "Drive" don't end with Cronenberg. The look and sound of "Drive" evokes the work of writer-director Paul Schrader on "American Gigolo." The neon font of the film titles, the synth soundtrack and the over the shoulder camera position in the driving scenes all evoke Gigolo. Why "American Gigolo?" You'd have to ask director Refn about that; on the surface the two films share little more than the Refn's choice of homage.
Though the influences are obvious "Drive" is far from derivative. The ideas in the film are its own and they are executed with gripping efficiency. Ryan Gosling's acting choices carry weight and intrigue and you can't help but be fascinated by what he will do next. Gosling holds you in thrall as The Driver drifts further and further into danger.
Gosling is equaled in very different ways by the work of Albert Brooks and Carey Mulligan. You've never thought of Albert Brooks as menacing but you will believe him menacing wielding a knife with fierce efficiency. Carey Mulligan meanwhile, matches the intensity and dangerous charisma of Gosling and Brooks with fragility, beauty and empathy.
"Drive" is a remarkable film, artful, intelligent and gripping. The cast is extraordinary and the direction by Nicholas Winding Refn is superb.
Movie Review Lars and the Real Girl
Lars and the Real Girl (2007)
Directed by Craig Gillespie
Written by Nancy Oliver
Starring Ryan Gosling, Emily Mortimer, Paul Scheider, Kelli Garner, Patricia Clarkson
Release Date October 12th, 2007
Published November 8th, 2007
“They’re not real so they last forever, isn’t that neat?”
I want to start this essay by stating how much I adore the movie Lars and the Real Girl. This article is going to be hyper-critical of the movie and I don’t want anyone thinking that I feel the movie is bad or poorly made. Rather, I think it is a memorable, entertaining and moving work made by people of great empathy and care. On a specific level, regarding the character of Lars, it is a wonderfully told story. That said, I do have some issues with the movie that I feel are valid.
Lars and the Real Girl centers on Lars, a lonely man who struggles with deep insecurities. When Lars’ sister-in-law, Karin, becomes pregnant, Lars becomes even more withdrawn and unusual than before. His idea to cope with his latest bout of insecurity is to purchase a sex doll, but not for sex. In Lars’ mind, Bianca, the doll, is a real woman who has come to stay while on a missionary trip. Lars gives Bianca a full backstory and a life of her own and even has her stay at his brother Gus's house rather than with him in order to maintain propriety as he sees it.
As is revealed through dialogue, when Lars was born, his mother died while giving birth. This has bred into Lars a fear of pregnancy as expressed in his awkward and fearful interactions with Karin. Furthermore, Lars’ father was withdrawn and depressed as Lars grew up and he eventually took his own life. This created a sense in Lars of the impermanence of life and deeply set his fears and insecurities regarding losing people he cares about.
Are you sensing a pattern? Lars and the Real Girl appears to have an origin story for every one of Lars’ insecurities. When Lars acts out and buys Bianca and then settles into the delusion that Bianca is a real person with a real life and a voice that he can hear and converse with, the movie has an answer as to why and sets about showing off a solution to Lars’ many problems. That solution involves everyone in Lars’ life and the town in which he lives, going along with his delusion that Bianca is real
And it works, eventually, Lars begins to enact Bianca’s death, a death that is symbolic and cathartic, a necessary step toward his recovery and re-emergence into a more normal life. It’s not simple, per se, the movie doesn’t take shortcuts. Rather, my issue is how neat it all is. I’m not a professional psychologist but even I know that what Lars is going through is a dissociative state that he can and likely will overcome with a symbolic gesture and a little help.
But you don't have to have even minor knowledge of psychology to see that Director Craig Gillespie and writer Nancy Oliver leaning over shoulder through the movie and asking you if you understood the deeper meaning of their movie. The constant back stories every one of Lars' quirky personality traits, the source of his trauma, the grief and drama that like caused him to delusionally disassociate from the world is revealed and underlined in often heavyhanded dialogue, just to make sure that the dum-dums in the audience understood the origin story for every aspect of Lars' life.
I'm certainly critical of this aspect of Lars and the Real Girl, I do believe the movie is overbearing in how the script occasionally looks down upon the audience. But, I do not hate this movie. In fact, I have a deep affection for Lars and the Real Girl, an affection deeply tied to Ryan Gosling's remarkable and unique performance as Lars. Gosling is incredible at portraying a traumatized and infantilized young man slowly beginning to recover but unlikely to ever be fully recovered. He's gone through too much and been stunted for so long that he will likely struggle the rest of his life.
That fact is at the heart of Lars and the Real Girl which, though it appears to have a happy ending, it is just melancholy enough to leave you feeling a wealth of empathy for Lars, hoping he can move forward but clear in the knowledge of how deeply damaged and often low functioning he is. It's remarkable that a movie and an actor can communicate that kind of depth, even as Lars and the Real Girl tends to lean far too heavily into exposition.
Movie Review: Fracture
Fracture (2007)
Directed by Gregory Hoblit
Written by Daniel Pyne, Glenn Gers
Starring Ryan Gosling, Anthony Hopkins, David Straithairn, Rosamund Pike, Embeth Davidtz, Cliff Curtis, Billy Burke, Fiona Shaw
Release Date April 20th, 2007
Published 19th, 2007
There is plenty of Oscar related gravitas to go around on the new thriller Fracture. Star Anthony Hopkins won an Oscar for Silence of the Lambs. His young co-star Ryan Gosling is fresh off of his first nomination for Half Nelson and David Straithairn isn't long from his Best actor nomination for Good Night and Good Luck. With all of that Oscar gold shining it could be easy to miss how shallow and unworthy a movie like Fracture is.
This movie of the week, sub-Law & Order-CSI, thriller wastes a group of great actors on a plot full of minor cracks and imperfections or fractures if you will.
Willy Beachum (Ryan Gosling) has one foot out the door. Having just landed a big paycheck; corporate law gig; Willy is leaving behind the district attorney's office and his 100% conviction rate. He just has one case left on the docket and it looks like a slam dunk. A wealthy older man, Ted Crawford (Anthony Hopkins), has attempted to murder his much younger wife (Embeth Davidtz). Crawford confessed to shooting her. The police on the scene found the gun in his hand. They were the only people in the house. This guy is guilty.
So how can this guy Ted plead not guilty? And why did he decide to represent himself in court. If Willy weren't already out the door on his way to that new job; he might have asked these important questions and maybe he wouldn't have been ambushed in court and made to look like a fool when it's revealed that the lead cop on the case, detective Rob Nunnally (Billy Burke), the man who took the confession and found the murder weapon, was sleeping with the victim.
Now, a case that should have been a slam dunk; is now a case that could cost Willy his career.
With the Oscar pedigreed cast and a complicated thriller plot, Fracture should work. Unfortunately, director Gregory Hoblit and writers Daniel Pyne Glen Gers can't get out of the way of these remarkable actors. Placing them in an untenable maze of cop and lawyer show garbage, Fracture unfolds like an average CSI or Law & Order episode, only less believable.
Despite a plot that betrays him, Ryan Gosling turns in a surprisingly good performance. Watching him work is like watching a young Newman or Redford as they came into their own as actors. Gosling has the looks and the brains of those legends and most importantly that classic smolder of a leading man. There is a scene in Fracture with Gosling and Rosamund Pike who plays his very brief love interest. They meet for the first time at an opera and sitting down the aisle from one another; Gosling gives Pike a look that has more heat than your average sex scene. It's a look that only a great leading man could give.
Anthony Hopkins can't help but be entertaining but in Fracture he seems a little more tired than we've ever seen him. Sleepwalking through this underwhelming plot' Hopkins falls back on a gleem in his eye and a forced creepy smile to sell this malevolent character. He also has Hannibal Lecter to fall back on and there are plenty of laconic Lecter-isms in Ted Crawford. Hopkins is still watchable but there is a cruise control feel to this performance.
What the creators of Fracture fail to realize is that modern audiences in the age of Court TV, CSI and Law & Order audiences are more savvy and knowledgeable about the law and law enforcement than ever before. So, when Willy misses an obvious bit of legal maneuvering, the cops seem to ignore pertinent information, or the killer makes an obvious forensic mistake, we notice and it takes us out of the movie.
I spent more time in Fracture pulling apart its legal logic, or lack of knowledge, than I did watching these two wonderful actors work together. It's a shame, because the few minutes I did watch the actors, they were very good.
Two great actors, one not so great movie, Fracture fails to take advantage of a seriously good pedigree. Instead we get a sub-cop show thriller that relies on ill logic and poor decision making by characters who should no better. The creators of Fracture underestimate the intelligence of their audience and think they can play fast and loose with the rules of law enforcement. However, in the day and age of Court TV and Forensic Files, we know more than they give us credit for and the ill-logic of Fracture shows through.
Movie Review Half Nelson
Half Nelson (2006)
Directed by Ryan Fleck
Written by Anna Boden, Ryan Fleck
Starring Ryan Gosling, Shareeka Epps, Anthony Mackie
Release Date September 22nd, 2006
Published October 23rd, 2006
I knew when I first saw Ryan Gosling in the indie flick The Believer that he was destined to be an Oscar nominee. His fiery performance as a young jewish skinhead showed the charisma of a young Paul Newman with the range of a Dustin Hoffman. He maintained these skills even in mainstream puff pieces like Murder By Numbers, opposite Sandra Bullock, and the weepy romance The Notebook.
Those two films showed his star potential while indies like The Slaughter Rule and The United States Of Leland showed his acting chops. Now his career has reached the pinnacle that I, not so long ago, saw. Gosling is deservedly an Oscar nominee for his role as a modestly functional addict and teacher in Half Nelson.
Danny Dunne is one of those cool teachers. He's young enough to remember the trials of being a teenager and just old enough to be taken seriously when he gives out his history lessons. That he is also a cocaine addict is a sign; not of his cool, but rather of his astonishing ability to connect with the world while blasted out of his mind.
Dunne's biggest problem is that he simply hasn't hit bottom yet. As a 'functional' addict he is still in a mental state that allows him to believe he is in control of his addiction. Then, one night after coaching a girls basketball game, Dunne is caught by one of his students smoking crack in the girls locker room. Her name is Drey (Shareeka Epps) and her kind response to finding her teacher in this state is a function of her respect for him as a teacher and her own background which is surrounded by drugs, addicts and dealers.
Directed by Ryan Fleck, who also co-wrote the script with Anna Boden, Half Nelson delivers a story with obvious metaphors that yet manages to be deep and thoughtful. Ryan Gosling's Danny is a corrupted soul. Shareeka Epps as his student represents innocence and the potential to be corrupted. When Anthony Mackie shows up as Drey's drug dealing 'uncle' he represents the potential corruptor. Danny finds his salvation in preventing Drey from being corrupted.
It's rather simple really. That is where the incredible performances of Gosling, Epps and Mackie make the difference. The varying speeds and intensities of their individual performances are so precise they make you forget about the obvious metaphors until after the movie, when you've had a moment to reflect. While watching the film you can't help but be in the moment with these wonderful actors.
Ryan Gosling's intense, yet controlled performance is the perfect measure of a functioning addict. In denial about his problems because he is able to perform everyday tasks, Gosling's Danny will reflect the lives of many addicts who manage to make it to work everyday and interact with family and friends without, at least in their mind, letting anyone know about their addiction.
Shareeka Epps expertly captures the naivete of the preternaturally grown up child. Her experiences are those of an adult who has seen far too much but her perspective is still childish and precocious. This is not an easy balance to strike but Epps really nails it. It is a real shame she did not join Ryan Gosling in being nominated for an academy award because she was very deserving.
Ryan Gosling has truly arrived. But, Half Nelson is no revelation, at least not to me. I knew this kid was going to be great one day and that day has simply arrived. A riveting, emotional, turbulent performance that is never overstated, Gosling in Half Nelson paints a human portrait of addiction that illustrates all that is wrong with our drug culture.
Drug use is not a crime but rather a sickness. It needs to be treated with compassion not arrests. Half Nelson, and Ryan Gosling's performance teaches this lesson better than anyone in the office of National Drug Control Policy ever could explain why it should be a crime. The treatment of drug addicts in this country is a crime.
That really isn't what this movie is about but that is one the many emotions it evoked in me and one the many reasons Half Nelson is such a terrific film.
Movie Review Murder by Numbers
Murder by Numbers (2002)
Directed by Barbet Schroeder
Written by Tony Gayton
Starring Sandra Bullock, Ryan Gosling, Michael Pitt, Agnes Bruckner, Ben Chaplin, Chris Penn
Release Date April 19th, 2002
Published April 18th, 2002
Director Barbet Schroeder began his career as one of the leaders of the French new wave in the 1960's. Writing for Cahiers Du Cinema, Schroeder expounded a style-over-substance approach, a free form of filmmaking that was about artistry more than story and character. Since coming to America in the early 70’s, Schroeder's style has become much more generic. It’s been mostly straight thrillers with conventional thriller plots and characters that, while proficient, weren't the genre busting style he had developed early in his career. Murder By Numbers is Schroeder’s latest by-the-numbers thriller that, while proficient, isn't Earth shattering.
Sandra Bullock stars as a hardass detective investigating an unusual murder that seems to have no motive. What Bullock and her partner, played by the personality challenged Ben Chaplin, don't know is the murder was committed as part of a suicide pact between two overpriveleged teens who thought it would be fun to try to commit the perfect murder. The teens, played by Ryan Gosling and Michael Pitt, gorge themselves on forensic science books and the study of investigation, careful not to leave any clues. Of course what fun is committing the perfect crime if you can't take credit for it, so the boys begin to tease the detectives by dropping little hints, all the while setting up someone else to take the fall. Gosling's character, while not wanting to go to jail, still would like to be acknowledged for his brilliant scheme while Pitt quarrels with his own guilt.
The plot is strong but the characterizations are a little thin, especially Bullock who delivers a good performance but her character seems somewhat hard to believe in the muddled narrative. She's supposed to be this tough cop who other cops think is one of the guys yet at the same time she is intimidated by Gosling, who is not exactly menacing. The motivation for her being intimidated is explained later but by then it has already disrupted the characterization and rendered her unbelievable.
The standout is Michael Pitt who is on his way to an Oscar nomination with previous performances in Hedwig & the Angry Inch and Bully. He is building quite a resume with Murder By Numbers, an effective foray into the mainstream. The film itself could have benefited from being a little less mainstream, a little darker. As it is, it comes off a little too slick and somewhat shallow. Murder By Numbers is an okay film but it’s best to wait to be seen on DVD.
Movie Review: Blue Valentine
Blue Valentine (2010)
Directed by Derek Cianfrance
Written by Derek Cianfrance, Cami Delavigne, Joey Curtis
Starring Michelle Williams, Ryan Gosling
Release Date December 29th, 2010
Published December 30th, 2010
"She sends me Blue Valentines
Though I try to remain at large
They're insisting that our love
Must have a eulogy"
The sad lyrics of Tom Waits' 1978 B-side Blue Valentines were one of the inspirations for the movie “Blue Valentine” starring Michele Williams and Ryan Gosling and they are appropriate. The film examines the beginning and, more thoroughly, the ending of a marriage and acts in effect like a eulogy to something once loved that has passed on.
The plot of “Blue Valentine” is fluid and mercurial, shifting back and forth in time from the sweet beginnings of Dean (Ryan Gosling) and Cindy’s (Michelle Williams) relationship to the present where their marriage is ending. The ending is evident to us and to Cindy but not Dean who struggles to recapture the dying essence of their once effervescent love.
Like a freezing man desperately blowing on the embers of a dying flame Dean begs for every last moment of warmth. The last ditch effort comes on an Anniversary jaunt to a cheesy romantic hotel with themed rooms. In this ridiculous setting Dean will attempt to romance Cindy and the cold space between them will grow with Dean’s every effort.
Naturally, there are signposts early on that Dean and Cindy are starting on a troubled path. When Dean and Cindy met she was involved in an abusive relationship with Bobby (Mike Vogel) and when he finds out about Dean he and three friends seek out Dean and deliver a vicious beat down.
Cindy’s father Jerry (John Doman) is another trouble spot; he dislikes Dean from the very beginning. Jerry was also abusive but as he has aged he’s remained a presence in Dean and Cindy’s relationship and is a doting grandfather to their daughter Frankie (Faith Wladyka).
Much has been written about the sex in “Blue Valentine,” sex that nearly earned the film an NC-17 rating. The sex is intense for a reason; much of the basis of Dean and Cindy’s connection is a tremendous physical chemistry, something that all relationships need but not something you can build a sustainable relationship around.
Late in the film Cindy will use that physical chemistry against Dean offering him the sex he wants but holding back emotionally until his frustration can no longer be controlled. It’s a heart rending scene and one that may be good enough to earn Michelle Williams an Oscar nomination.
Not all of “Blue Valentine” is a downer; like any relationship Dean and Cindy’s relationship has good moments. The scene of Dean and Cindy’s first date which features a little dancing, a little singing and a ukulele is one of the sweetest moments in any movie in 2010. Ryan Gosling and Michelle Williams are thrilling in this moment offering the audience all we need to know about why these two people think they love each other in this one exceptional scene.
But, did Dean and Cindy ever really love each other? Dean certainly loved Cindy but she is more mysterious. Cindy’s motivations for loving Dean or wanting to love Dean are less than healthy and Williams is expert at communicating the depth of Cindy’s psychoses and how they influenced her to marry Dean without fully committing emotionally.
“Blue Valentine” is as raw as Tom Waits’ gravel ridden voice and like Waits at his best is capable of deep sadness or biting dark humor. This is the first feature for writer-director Derek Cianfrance and it will be fascinating to watch this newcomer evolve his vision as a filmmaker. “Blue Valentine” is an exceptional start for Cianfrance who looks capable of something even more brilliant in the future.
Movie Review: Crazy Stupid Love
Crazy Stupid Love (2011)
Directed by Glenn Ficarra, John Requa
Written by Dan Fogelman
Starring Steve Carell, Ryan Gosling, Emma Stone, Julianne Moore
Release Date July 29th, 2011
Published July 28th, 2011
Will Steve Carell ever grow up? In The 40 Year old Virgin Carell played a man-child who needed the help of friends to get him laid for the first time. Now, some seven years later, Carell is playing a slightly more grown up man-child who still needs help getting laid, this time after his wife of 25 years, Emily (Julianne Moore), has divorced him.
Enter Jacob played by Ryan Gosling. Jacob looks like he walked out of the pages of GQ carrying the swagger of a pro athlete and the ladies man rap of The Game author Neil Strauss. Jacob takes pity on Carell's Cal after repeatedly listening to Cal whine about his wife cheating on him. Naturally, this leads to a montage of Carell trying on clothes while Gosling hits on the various women assisting in their clothing choices. Soon, Cal has a swagger and for the first time in 25 years he's having sex with a woman who is not his wife, in fact, he's having sex with a number of women.
Jacob meanwhile, finds himself in an entirely new place in life. Hannah (Emma Stone) is the rare woman to reject his advances but after she gets a surprise from her would be fiancée she decides she wants the bar-hopping bad boy. Thinking that it would be just a one night stand, Jacob and Hannah have one of those first nights together that you end up telling your kids about.
Crazy, Stupid, Love was written and directed by the team behind the hit 2010 comedy Easy A, Glen Ficarra and John Requa. The duo has a good ear for the way people speak and an excellent feel for the comic rhythm with which people in movies speak. Carell and Gosling have a terrific comic rapport; quite surprising given Gosling's talent for drama and Carell's comic tendencies.
Also excellent is the chemistry between Gosling and Emma Stone. Ficcarro and Requa did great things with Stone in Easy A and the actress continues to show the promise of a budding superstar in Crazy, Stupid, Love. The Jacob-Hannah love montage would be typical, even perfunctory, were it not for the chemistry of these two terrific performers.
Crazy, Stupid, Love is far from perfect; the film goes off the rails a little late in the film after revealing an unnecessary plot twist and a ludicrous plot involving Cal and Emily's babysitter, Jessica (Analeigh Tipton.) That said, young actress Analeigh Tipton is a total sweetheart who has a terrific sub-plot with Cal and Emily's son Robbie played by Jonah Bobo.
The good things about Crazy, Stupid, Love greatly outweigh the bad. Steve Carell and Ryan Gosling are terrific together as are Gosling and Emma Stone. Add in small roles for Kevin Bacon and Marisa Tomei and you have a recipe for a terrific movie that cannot be spoiled by minor imperfections.
Movie Review: The Ides of March
Movie Review: The Notebook
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