The Ides of March (2011)

4/5

George Clooney's The Ides of March is a well-made, high-quality political thriller. Governor Mike Morris (Clooney) is running for president with campaign managers Paul Zara (Hoffman) and Steven Meyers (Gosling). Although Morris seems like an ideal candidate, problems start cropping up when his opponent's campaign manager, Tom Duffy (Giamatti), tells Steven some damaging news in strict privacy. Things get even more complicated when Steven gets romantically involved with a young intern (Wood) who has a few secrets of her own.

Technically, the film is impressive. The Ides of March showcases just about the finest ensemble cast in recent memory, perhaps ever. Although Gosling is billed as the lead, each of the supporting cast delivers stand-out performances so good that it makes Gosling's acting look simple and immature in comparison. While the script has sharp dialogue, it ultimately lacks the originality and creativity to make the story stand out. Clooney's directing, on the other hand, has matured significantly since his debut Confessions of a Dangerous Mind. Instead of flashy filmmaking, he goes for simple, understated techniques to enhance the overall experience. Subtle moves, like close-ups that build tension by gradually getting tighter, show his command of cinematic technique. All the individual parts come together to make a cohesive whole, but nothing jumps out to make me sing its praises. This is a solid film that does one thing well, but there's nothing revolutionary going on here.

IMDb link: http://www.imdb.com/title/tt1124035/

The Wrestler (2008)

4/5

Darren Aronofsky's The Wrestler is a phenomenal piece of work. He takes a subject most audience members know little about, professional wrestling, and envelops us in it, enraptures us through an unexpected intimacy with its performers. Mickey Rourke plays Randy "The Ram" Robinson, a wrestling superstar 20 years after his glory days. We see him still wrestling in school gyms and run-down sports clubs, and at first we think he's desperately clinging to some faded, tattered notion of the greatness he once was. But we slowly realize he isn't; the fans are still there, and every single one of them knows his face and his long, magnificent history. They are closer to him than his family, and they are the only ones who understand him. The Ram is a compelling entry into the ever-growing list of film protagonists, and one I can't remember seeing anything like before. Mickey Rourke makes this movie what it is.

His life is in shambles. After suffering a heart attack from an intense match, he is told that he can no longer wrestle. He wants to see his estranged daughter (Evan Rachel Wood) again, to reconnect with her, so that he won't be hated in her memory. But his long history of absence, while only hinted at, runs deep through their words, their looks, and their movements. Much is said while little is shown. We see how much hurt a small mistake can make.

Marisa Tomei plays a stripper who is also getting too old for her performance, with plans to retire soon. Their relationship is strictly business, but after the Ram's heart attack, he breaks the rules and asks for more. We see glimmers of hope, as with his daughter, and we see mistakes and missed opportunities. We understand the power of bad timing. We empathize with a man we may not like or agree with, because we see his humanity in ourselves.

I have yet to talk about Aronofsky's directing. It is, in a word, personal. Voyeuristic, but close. It brings us into a foreign world, it shows us wonders as if they're commonplace, and it does so with humility. Aronofsky lets his actors perform, he lets the message settle; the directing never overshadows the content. I can see that being difficult for Aronofsky. He strikes me as an arrogant director, but clearly he has exhibited both restraint and intelligence in this film, and in so doing has demonstrated his love for the art form.

While I found myself liking the film cognitively, I didn't feel the same way emotionally. Except for the title song, I didn't really feel it speak to me. I want to see this movie again. I think my rating would change. I want to fall in love with this movie as I saw others fall in love with it. But I can't honestly give it a higher rating than 4. I'm sure you can though, so I highly recommend it.

IMDb link: http://www.imdb.com/title/tt1125849/

Across the Universe (2007)

3/5

Julie Taymor's Across the Universe is essentially a series of Beatles covers with hints of a story feebly wrapped around it. What little plot there is follows uninteresting characters falling in and out of love in uninteresting ways during the Vietnam era. These faults would sound the death knell of an ordinary movie, but this one more than makes up for it with its bold images and exhilarating creativity. The best thing one could say about Across the Universe is that it tries. It tries so hard it infects the audience with its own joyous celebration. But sometimes it tries too hard. And despite its successes, it manages to fall flat on its face a number of times.

The first hour and fifteen minutes was absolutely perfect. It was everything a movie musical can and should be. The cinematography was crisp and beautiful, the special effects awe-inspiring, and the characters engaging. But the best part was the music. It successfully enhanced the entire film experience. It strengthened every emotion, deepened every character, and moved the audience more profoundly than any other single filmic technique. "Let It Be" and "Come Together" are by far the highlights for me, perhaps of any musical I've ever seen. I cannot imagine how wide-eyed and open-mouthed I must have been watching them. Even the more lively dance numbers I found myself comparing to Singin' in the Rain.

But the movie lacked a legitimate take-home message, just that love is cool and war is not. The editing seemed nonexistent, as if every scene they shot was included no matter how much it destroyed the pacing and alienated the audience. The acting redefined average. To be fair, the script and dialogue were pretty pitiful in the first place, so the actors didn't have much to work with. I hated how the movie idealized the bohemian lifestyle and bellowed its anti-war mentality. But more than that, I hated the 30 minute hallucinatory dreck masquerading as a subplot people might actually care about. Not even cameos by Bono, Eddie Izzard, and Salma Hayek could salvage them. To drop so dramatically from amazing to amazingly bad is impressive, and not in a good way. But in the last 15 minutes or so the movie picks up again to end it on a saccharine, innocuous note. For any fans of the Beatles, which should be a vast majority of people, go watch this movie. You will most certainly not be disappointed.

IMDb link: http://imdb.com/title/tt0445922/