Captain Phillips: Take-charge thriller

<span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b><i>Captain Phillips</i> </b></span></span></span></span></span></span><b>(2013) • <a href="http://trailers.apple.com/trailers/sony_pictures/captainphillips/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b> </b><br /><b>4.5 stars. Rating: PG-13, for dramatic intensity, violence and substance abuse</b></span></span></span></span></span></span></span></span><br style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a> • </b></span>Originally published in <i><a href="http://www.davisenterprise.com/" style="color: #27a9c5; text-decoration: none;">The Davis Enterprise</a></i>, 10.11.13</b></span><br /><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--> <!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <!--StartFragment--> <br /><div class="MsoNormalCxSpFirst"><span style="font-family: Arial, Helvetica, sans-serif;">Some stories are so astonishing, they could only be true; you’d never believe them as plots in a novel.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBpyRHnZMkOY8CoPDwJM3nd2GggU65QB3WT_0QQamnn5kMKDzu1drIHa0-kUuhrj2FSybD9mRdmEtjFLjf51jhxaaFhBIzvoBot6APOM1cLvWA-3xrfcnhkgXYCF4K7oYNODLyOyZ3cQE/s1600/Captain+Phillips+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBpyRHnZMkOY8CoPDwJM3nd2GggU65QB3WT_0QQamnn5kMKDzu1drIHa0-kUuhrj2FSybD9mRdmEtjFLjf51jhxaaFhBIzvoBot6APOM1cLvWA-3xrfcnhkgXYCF4K7oYNODLyOyZ3cQE/s400/Captain+Phillips+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Utterly helpless at the hands of four heavily armed Somali pirates, Rich PHillips (Tom<br />Hanks, center) nonetheless weighs every option, primarily concerned about the safety<br />of his crew, but also — at all times — seeking a psychological edge that might allow<br />him to outwit his captors.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The credibility-stretching 2009 saga of Captain Richard Phillips and the U.S. container ship Maersk Alabama is just such a narrative, and it has become a taut, tension-laden drama in the capable hands of documentarian-turned-filmmaker Paul Greengrass. <o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Thriller fans know Greengrass for his superlative entries in the Jason Bourne series, most notably 2004’s <i>The Bourne Supremacy</i>, by far the best of the bunch. But Greengrass also is the writer/director who uncorked <i>United 93</i> five short years after 9/11, constructing a tense, deeply unsettling real-time depiction of what likely happened that horrible day.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">As with <i>United 93</i>, Greengrass’ new film is ripped from disturbing headlines, with screenwriter Billy Ray (<i>Shattered Glass</i>, <i>Breach</i>) adapting the 2010 memoir <i><a href="http://www.amazon.com/Captains-Duty-Somali-Pirates-Dangerous/dp/1401310443/ref=sr_1_1?s=books&ie=UTF8&qid=1381429248&sr=1-1&keywords=a+captain%27s+duty+somali+pirates+navy+seals+and+dangerous+days+at+sea">A Captain’s Duty:Somali Pirates, Navy SEALS and Dangerous Days at Sea</a></i>.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">That book is written by Phillips, with an assist from Stephan Talty ... which does, by definition, dilute some of this film’s suspense. But that hardly matters; to a great degree, Phillips’ ordeal is well known by Americans who sat glued to their TV sets during five days in April 2009. The key point here is that Greengrass depicts this saga with a degree of verisimilitude, and an attention to detail, that border on documentary realism.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Add superlative performances from Tom Hanks and the actors playing his Somali captors, and the result is can’t-miss cinema: You literally won’t take your eyes off the screen.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The film opens quietly, as veteran merchant mariner Rich Phillips (Hanks) packs in anticipation of another routine assignment; we get brief face-time with his wife, Andrea (Catherine Keener), but then she’s never seen again. <o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">(Which, just in passing, might be a missed bet: Just as much drama unfolded in Vermont, as media crews bird-dogged an agonized Andrea Phillips, while she followed these events ... and I’d love to have seen the impressively talented Keener play that role. Then again, Greengrass may have felt that her end of the saga would have diluted the drama.)<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br /> <div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Elsewhere, along the Somali coast, gun-toting thugs in the employ of a local warlord descend on the impoverished fishing village of Eyl and demand that its able-bodied inhabitants take to the sea in order to hijack another foreign vessel, the goal — maddeningly successful too many previous times — being to ransom it for millions of dollars. The none-too-subtle point is that these dirt-poor fishermen are caught between a rock and a hard place: mount the piracy expedition, or be shot for refusing.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The faces blend in chaos; it will be awhile before the key Somali players distinguish themselves ... although Barkhad Abdi’s feral, cunning and unexpectedly intelligent gaze makes an immediate impression.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Once underway on the heavily laden Maersk Alabama, fully aware that they’ll be traveling through the pirate-infested waters of the Somali basin, a cautious Phillips orders first mate Shane Murphy (Michael Chermus) to put the men through safety drills. The captain/crew dynamic is intriguing, in these early scenes; some of the men clearly respect and smartly obey protocol and the chain of command, while others behave like union-coddled jerks who resent not being able to stretch their coffee breaks.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Everybody snaps to attention, however, when their ship’s radar detects the approach of two rapidly moving blips.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">What happens next can be divided into three distinct chapters, each guaranteed to surprise viewers not intimately acquainted with this saga. The assault on the Maersk Alabama is riveting, as is Phillips’ crafty response to the crisis; he doesn’t miss a trick, despite having very little with which to work. We quickly come to admire the calm, calculating depth of Hanks’ performance; his portrayal of Phillips — by all accounts, an accurate reflection of the actual mariner — is equal parts unremarkable Everyman and quick-witted master of psychology.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">We also can’t help being dismayed by the fact that Phillips and his crew are unarmed, and without at least a few trained soldiers; Somali piracy had been a well-established concern for several years by 2009, with every ship’s crew unwittingly involved in a ghastly, ocean-bound lottery. International shipping conglomerates clearly preferred to play the numbers, and risk the odds, rather than spend the money to protect individual ships. The mind doth boggle ... and although Ray’s script doesn’t blatantly name-check this heinous mind-set, the implication is clear.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Actually, Ray’s entire script is a masterpiece of nuanced subtlety, taking its cue from the way Phillips described the pirates in his book (and I’m quoting a <i>Booklist</i> review here) as “alternately conciliatory, vicious and simply not all there.” The latter results from the fact that these pirates are in a constant state of amped-up euphoria/anxiety, thanks to the amphetamine-like khat that they chew in lieu of eating.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">To say the least, it makes their behavior unpredictable ... which Phillips recognizes all too quickly.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Eventually, the various pirates sort themselves out and only four become involved in the action. They’re led by Muse (the intense Abdi), who regards himself as a fellow captain and playfully insists on calling Phillips “Irish.” Muse is all business: He expects Phillips to call the shipping company, which will contact its insurance carrier, send along a ransom, and allow ship and crew to move along. We sense that it has gone down just this way, at least a few times, in the recent past ... but not this time.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Thanks to Phillips’ cagy machinations — the American captain, at all times, deeply concerned about his crew — the situation quickly escalates out of Muse’s control. Meanwhile, imminent loss of life is a very real possibility, thanks to the instability of Muse’s three companions: the imposing Najee (Faysal Ahmed), with his hair-trigger temper; the taciturn Elmi (Mahat M. Ali), unexpectedly handy as a mechanic; and the youthful Bilal (Barkhad Abdirahman), wholly out of his depth.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">All four — Abdi, Ahmed, Ali and Abdirahman — are first-time actors, selected from among more than 1,000 candidates living in the States’ largest Somali-American community, in Minneapolis, Minn. Their performances are authentic — and subtly complex — to an astonishing degree. We simultaneously loathe and pity these four men, and in a way almost admire their utterly insane courage, as they attempt to take command of this huge ship — and, later, defy what seems like the entire U.S. Navy — all by themselves.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But make no mistake: Greengrass and Ray do not sugar-coat these pirates. They’re dangerously ruthless, unexpectedly violent and prone to irrational, drug-hazed behavior; they obviously wouldn’t lose any sleep after killing an American or three. (Well ... Bilal might grieve a little.) But it would be wrong to call them evil; that label more accurately applies to the much-feared Somali warlord Garaad, who orders the assault.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The closest Ray’s script comes to moralizing occurs during a brief exchange between Phillips and Muse, late in game. “There must be more than fishing and kidnapping,” Phillips desperately insists, subtly referencing the fact that Somali piracy grew in response to illegal over-fishing and the dumping of toxic waste in Somali waters, which deprived coastal villagers of their livelihoods.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">“Maybe in America,” Muse replies, the bitterness evident in his voice.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Max Martini is appropriately crisp and commanding as the SEAL officer who enters the final round of what eventually becomes an ocean-bound circus; Yul Vazquez is quietly efficient as Frank Castellano, commander of the USS Bainbridge, the Navy destroyer initially sent to negotiate a peaceful solution to the mounting crisis.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Just in passing — between this film and last year’s <i><a href="http://derrickbang.blogspot.com/2013/01/zero-dark-thirty-ultimate-manhunt.html">Zero Dark Thirty</a></i> — Navy SEALS never have looked so good. I fully expect recruitment to take an upward bump.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">As always, Greengrass surrounds himself with equally accomplished technicians, starting with cinematographer Barry Ackroyd — Oscar-nominated for <i><a href="http://derrickbang.blogspot.com/2009/07/hurt-locker-explosive-drama.html">The Hurt Locker</a></i> — who works impressive magic during difficult night shoots and the confined, narrow hallways of the container ship. The result is solid <i>cinema verité</i> and intensely real.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Academy Award-winning editor Christopher Rouse (for <i>The Bourne Ultimatum</i>) similarly tightens the screws, deftly shifting between the varying perspectives of Phillips and Muse, each a casualty of circumstances. Eventually, this cross-cutting grows to include various Navy personnel, but the narrative landscape never gets cluttered, and the tension never flags.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Hollywood often gets rapped, justifiably, for the way factual events are distorted on the big screen. Although Greengrass takes a few dramatic liberties here, he nonetheless distills a significant bit of recent history into a socio-political document that analyzes cultural disenfranchisement, in 134 minutes, far better than any lengthy textbook is likely to do, in years to come. <o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">On top of which, Greengrass also delivers a rousing, suspenseful and thoroughly engaging drama that is certain to garner numerous Oscar nominations, starting with Hanks.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">When cynics insists that movies are too commercial to be regarded as art, <i>Captain Phillips</i> is a great way to prove them wrong.</span><span style="font-family: Times New Roman;"><o:p></o:p></span></div><!--EndFragment-->

2013 Barkhad Abdi Barkhad Abdirahman Catherine Keener drama Fact-based Faysal Ahmed Four Star Films Mahat M. Ali Max Martini Michael Chermus Paul Greengrass thriller Tom Hanks Yul Vazquez Captain Phillips: Take-charge thriller

Captain Phillips (2013) • View trailer 4.5 stars. Rating: PG-13, for dramatic intensity, violence and substance abuseBy Derrick Bang • Originally published in The Davis Enterprise, 10.11.13 0 false 18 pt 18 pt 0 0 false fals…

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Gravity: Grim survival drama

<span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b><i>Gravity</i> </b></span></span></span></span></span></span><b>(2013) • <a href="http://trailers.apple.com/trailers/wb/gravity/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b> </b><br /><b>Four stars. Rating: PG-13, for dramatic intensity, disturbing images and fleeting profanity</b></span></span></span></span></span></span></span></span><br style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a> • </b></span>Originally published in <i><a href="http://www.davisenterprise.com/" style="color: #27a9c5; text-decoration: none;">The Davis Enterprise</a></i>, 10.4.13</b></span><br /><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--> <!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <!--StartFragment--> <br /><div class="MsoNormalCxSpFirst"><span style="font-family: Arial, Helvetica, sans-serif;">On Jan. 11, 2007, the Chinese military destroyed one of its orbiting satellites with a ground-based missile. Although China insisted that this was the best way to “retire” the aging satellite, visions of a surface-to-space missile race naturally alarmed more than a few nations around the world.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn6gezC-8hONmhdraSbiZ7vHrDEXJf_RYZoTMxhiQTqAqL1j4XvhTFK2_RYg0JzgueaWBhVU_AsW_AVHeR5hHQ0FhsxHrbwbswD31APmyvNiLYcgGRs6usEdWWmlkH_KY3VvsE6qIjmTc/s1600/Gravity+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn6gezC-8hONmhdraSbiZ7vHrDEXJf_RYZoTMxhiQTqAqL1j4XvhTFK2_RYg0JzgueaWBhVU_AsW_AVHeR5hHQ0FhsxHrbwbswD31APmyvNiLYcgGRs6usEdWWmlkH_KY3VvsE6qIjmTc/s400/Gravity+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">When things go wrong in space, they go very wrong, as Dr. Ryan Stone (Sandra<br />Bullock) quickly discovers. Situations that would be bad enough on the ground, with<br />gravity operating in one's favor, quickly turn catastrophic in an environment where a<br />small space suit puncture likely would mean instantaneous death.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Saber-rattling aside, the much more serious issue was the orbiting “debris cloud” of up to 300,000 bits of satellite that resulted, which still could pose serious danger to other satellites or spacecraft en route to the moon and beyond. (NASA, worried about this since 1978, has dubbed the frightening possibility of cascading collisions the Kessler Syndrome.) For this very reason, the U.S. and the Soviet Union halted such anti-satellite experiments in the 1980s.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Clearly, filmmaker Alfonso Cuarón smelled an opportunity. The result, which he directed and co-wrote with his son, Jonás, is <i>Gravity</i>: one of the very few feasible space-based dramas ever released via conventional channels. (I say this to distinguish Cuarón’s film from numerous sci-fi and fantasy entries, or jes’-plain-silly action epics such as <i>Armageddon</i> and <i>Space Cowboys</i>.)<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Gravity</i> is both a suspenseful nail-biter and an impressive visual achievement: a studio production that comes close to the on-screen authenticity of an IMAX space documentary. The special effects are stunning, from the gorgeously depicted EVA mission that opens the story, to the weightless activity that takes place within a space station. <o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">When Sandra Bullock “swims” her way from one end of the station to another, passing all sorts of floating debris along the way — not to mention little globules of liquid, or zero-G electrical sparks — everything looks absolutely real. We can’t help a “how the heck did they <i>do</i> that?” sense of wonder, despite our frequent ho-hum reaction to what CGI effects have wrought these days.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Cinematographer Emmanuel Lubezki and visual effects supervisor Tim Webber — and the latter’s company, Framestore — have done stunning work. Indeed, their efforts are almost <i>too</i> good; at times it’s hard to focus on the story, since we’re so frequently dazzled by the on-screen visuals.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But only at times. Cuarón has orchestrated a taut survival drama that masterfully exploits claustrophobic terrors, not to mention related fears of drowning, suffocating or simply being hurled, alone, into the depths of space, able to do nothing but count down the seconds before the oxygen runs out.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br /> <div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The time could be now, or perhaps just a bit into the future, under slightly different circumstances that have allowed our space program to remain robust. A routine shuttle mission commanded by veteran astronaut Matt Kowalski (George Clooney) includes a civilian passenger: medical engineer Ryan Stone (Bullock), clearly anxious about her surroundings, despite six months of training and preparation back on Earth.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The story begins with the Shuttle Explorer docked alongside the Hubble Telescope, as Stone struggles to install a new scanning system. She’s tense, and not only because of the expanse of space; the scanning unit isn’t cooperating. Kowalski, meanwhile, is punctuating his final voyage into space by scooting around in a test-model jet pack that allows movement unencumbered by the usual tethers.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Kowalski, alert to the rising tension, lightens the mood by joking with Mission Control — we recognize Ed Harris’ off-camera voice (nice touch, that) — and sharing oft-heard personal anecdotes that can’t help raising a smile on Stone’s nervous face.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Then, suddenly, a crisis: On the other side of the planet, an obsolete satellite has just been destroyed by a ground-based missile strike. The resulting debris field, on the same orbital path, arrives much faster than expected; the consequences are catastrophic. To make matters worse, the debris destroys numerous communications satellites along the way, and all contact with Mission Control is lost.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Stone and Kowalski are the sole survivors, and Explorer has been rendered useless. Stone is running critically low on oxygen, and Kowalski’s prototype jet pack has limited fuel. Their only hope: a bit of a “hike” to the nearby International Space Station, just visible to their naked eyes, and the Russian Soyuz capsule that Kowalski knows should be docked alongside.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Right about now, most viewers will be biting lips and digging fingernails painfully into palms.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Such reactions, of course, depend on the degree to which we invest ourselves in this scenario. Cuarón and co-editor Mark Sanger do a masterful job with this, as well. The characters are introduced and sketched just well enough to elicit our concern — the script doing so with “reasonable” conversation, as opposed to dumb dialogue solely for our benefit — and then things happen rapidly enough that we willingly hang on for the ride.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The character contrast is well played and quite credible; Clooney and Bullock deserves plenty of credit, particularly since they do most of their “acting” via vocal inflection and the limited facial expressions that are partially obscured by space suit helmets.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Clooney’s calm voice and easy manner bespeak the seasoned professional that Kowalski obviously is; he’s a well-trained professional who (no doubt) has long anticipated such a crisis, while clearly hoping never to face one. Clooney’s tone is light but instructive, gentle but persistent. Kowalski knows full well that his sole remaining companion is just this side of total panic, which is bad for all sorts of reasons ... starting with the fact that a frightened person breathes more heavily, and wastes more oxygen.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Anticipating this film, I must confess to having had doubts about seeing Bullock as a space scientist; that seemed just as daft as casting Denise Richards as a nuclear physicist, in 1999’s James Bond epic, <i>The World Is Not Enough</i>.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">I needn’t have worried; Bullock imbues her character with just the right blend of professional competence and landlubber anxiety. Her terror is reasonable; Kowalski may be comfortable in space, and regard it as his majestic back yard, but Stone has no such sang froid. We can readily believe that she signed on for this mission via a mixture of excitement and pride, for having been selected in the first place. After all, who <i>wouldn't</i> want to experience space first-hand?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">So most of us imagine, of course, with the unspoken caveat: As long as nothing goes wrong.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Bullock gives us a character we both respect and fear for; Cuarón’s skill lies in constructing a credible — if horrifying — scenario, and then making Stone the ultimate surrogate for our own resourcefulness. What would <i>we</i> do?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Cuarón has dealt with grim speculative fiction before, specifically with 2006’s apocalyptic and quite unsettling <i>Children of Men</i>. Despite a premise that was extremely unlikely (we hope), Cuarón nonetheless drew quite persuasive performances from his cast. He does the same here.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Lubezki’s gorgeous cinematography is further enhanced by this film’s 3-D effects, which are real enough to induce vertigo or even nausea, particularly when (for example) Stone tumbles out of control, spinning upside-down and sideways, after the initial impact. This film probably should come with air-sickness bags.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Composer Steve Price’s electronic-based score is deeply disturbing, operating on a subconscious level that greatly enhances this story’s fright factor. The sudden crescendos are enough to make you jump out of your skin.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">My one major complaint concerns the script’s tendency toward crisis overkill. The eventual plot hiccups represent a single bad-luck day taken to truly ludicrous extremes ... which, in turn, makes this depiction of human endurance a credibility-stretching improbability. Those familiar with the space program and EVAs also likely will balk at the <i>speed</i> with which Kowalski and Stone confront each new problem; every action in a bulky space suit, operating in zero gravity, should take an ... agonizingly ... long ... time. Cuarón pretty much ignores that little detail, no doubt claiming dramatic license (and a need to move things along).<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">In contrast — and to be fair — the scenario is quite a bit more accurate when it comes to the ghastly consequences of Newton’s laws of motion.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><span style="font-size: 12pt;"><span style="font-family: Arial, Helvetica, sans-serif;">All this said, at a modest 90 minutes, you’re unlikely to be bothered by such issues. <i>Gravity</i> — clever title, by the way — is a thoroughly absorbing drama that’ll make you think twice about booking a ticket on Richard Branson’s Virgin Galactic.</span></span><!--EndFragment-->

2013 Amy Warren drama Ed Harris Four Star Films George Clooney Paul Sharma Sandra Bullock Sci-Fi Gravity: Grim survival drama

Gravity (2013) • View trailer Four stars. Rating: PG-13, for dramatic intensity, disturbing images and fleeting profanityBy Derrick Bang • Originally published in The Davis Enterprise, 10.4.13 0 false 18 pt 18 pt 0 0 false f…

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Runner Runner: A fouled hand

<span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b><i>Runner Runner</i> </b></span></span></span></span></span></span><b>(2013) • <a href="http://trailers.apple.com/trailers/fox/runnerrunner/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b> </b><br /><b>2.5 stars. Rating: R, for profanity and occasional blunt sexual candor</b></span></span></span></span></span></span></span></span><br style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a></b></span></b></span><br /><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--> <!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <!--StartFragment--> <br /><div class="MsoNormalCxSpFirst"><span style="font-family: Arial, Helvetica, sans-serif;">Some movies defiantly wear their movie-ness like an ill-advised badge of honor.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The premise is so contrived, the characters so ill-defined, their behavior so random, that all we can do is shake our heads in resignation, thinking, What can we expect? It’s only a movie.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhceHuURKt_Xx-er_NxMYONtPfK_H_TYbKFGP_RzYzeipdQssTzICvUVryGfgflutHy8Tk5ikWK50kXmiwCxmABbFbuCWWxxuXv-lmB_gJcmcykLp4Jq24dD5ja9NaJhIVE5cWPUYtHRl8/s1600/Runner+Runner+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhceHuURKt_Xx-er_NxMYONtPfK_H_TYbKFGP_RzYzeipdQssTzICvUVryGfgflutHy8Tk5ikWK50kXmiwCxmABbFbuCWWxxuXv-lmB_gJcmcykLp4Jq24dD5ja9NaJhIVE5cWPUYtHRl8/s400/Runner+Runner+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">It's every teenage boy's dream come true: Richie (Justin Timberlake, left) couldn't be<br />happier when Internet gambling tycoon Ivan Block (Ben Affleck) accepts him as a<br />protégé. Of course, Richie fails to heed the slightest trace of common sense, branding<br />himself as the biggest sucker of all time: an attitude without which we wouldn't have<br />this film. Which might have been a good thing.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Runner, Runner</i> fits that bill.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The script, credited to Brian Koppelman and David Levien, is absolutely ludicrous. It opens with a behavioral howler and just gets worse, its central character — our <i>de facto</i> hero — ignoring common sense to a degree that makes it impossible to sympathize with him. Frankly, he fully deserves the consequences that he eventually struggles so hard to escape.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Let him hang, and move on.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But no, that would defy the revenge scenario that Koppelman and Levien so clumsily stitch together, from one bewildering moment to the next. Director Brad Furman, perhaps recognizing the weak hand he has been dealt, does his best to dazzle us with Costa Rican scenery and the wretched excess of an opulent casino gaming community. <o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Indeed, cinematographer Mauro Fiore lingers so long on such a setting, when our young hero initially enters this hedonistic realm, that I began to wonder if Furman had forgotten what to do next.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Runner, Runner</i>, set in the world of Internet gambling, is an echo for Koppelman and Levien. They made their bones back in 1998 with <i>Rounders</i>, a slick suspense thriller also involving high-stakes poker and a protagonist — in that case, Matt Damon — who gets in over his head. Clearly obsessed with gamblers and intricate stings, Koppelman and Levien subsequently created the short-lived TV series <i>Tilt</i> and brought the Danny Ocean series to a satisfying conclusion with <i>Ocean’s Thirteen</i>.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Things since then haven’t been nearly as satisfying, with two failures — <i>The Girlfriend Experience</i> and <i>Solitary Man</i>, both in 2009 — that were outside their comfort zone. No doubt Koppelman and Levien viewed <i>Runner, Runner</i> as a means of returning to what they know best.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Well guys, they say you can’t go home again ... and that’s certainly the case here.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Richie Furst (Justin Timberlake), a Wall Street up-and-comer who lost everything when the market crashed, has started over as a Princeton grad student. Lacking a respectable means to fund his education, he has been earning a commission as a shill for Midnight Black, an enormously successful Internet gambling site.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Alas, Princeton’s dean (a small but well-played role by Bob Gunton) thinks little of Richie’s clandestine operation, and orders it shut down. With no other means of earning tuition money, Richie goes “all in” one night by yielding to the very temptation that he has professed, during his smart-alecky narration, to be smart enough to avoid: playing online poker at Midnight Black. Naturally, he loses everything.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But suspiciously.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br /> <div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Richie knows poker odds, and during his all-nighter determines the “tells” of his online opponents, at least one of whom made impossible bets. A subsequent mathematical model of the night’s activities point to certain chicanery. (Gee ... ya <i>think?</i>)<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">We momentarily pause, to contemplate the bone-deep stupidity of <i>anybody</i>in the real world who would believe, for a moment, that these online gambling empires <i>don’t</i> cheat. How the hell would you ever know?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But I digress.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Most people would chalk up this experience as a valuable lesson learned, but not our Richie. He immediately hops a plane to Costa Rica — we can’t help wondering how he funds this trip — in order to confront Midnight Black’s owner/tycoon, Ivan Block (Ben Affleck, appropriately smooth and smarmy). Mind you, Richie never has been to this country, knows not a lick of Spanish, and has no six-degrees-of-separation connections to Block.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And yet, within a single day, he crosses paths with Midnight Black’s ultra-sultry COO, Rebecca Shafran (Gemma Arterton), and then wangles a face-to-face with Block himself.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">A-<i>ma</i>-zing.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Like I said: It’s a movie.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Block, impressed by Richie’s savvy — and by the fact that our hero kept his accusation on the low-down, rather than blabbing the details all over the Internet — immediately offers the younger man a job. (You’re just the sort of guy I need at my side, blah, blah, blah.) Richie, unable to believe his good luck (!), immediately accepts ... naively taking Block at face value, and convinced that he’s made a new best bud.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">As introduced, Richie is too smart to be this stupid.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Granted, the world is full of stupid smart people, particularly when gobs of cash are involved. But fiction has the added responsibility of <i>persuading</i>us that such behavior is reasonable, given a set of circumstances, a task at which this film fails completely. Koppelman and Levien’s script isn’t sufficiently thought out — it’s an overblown pot-boiler, at best — and Timberlake’s limited acting chops aren’t able to fill in the blanks.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">So, we go with the flow: Richie becomes Block’s apprentice because, well, the script <i>says</i> he does. And Richie stays at his new mentor’s side, despite increasing evidence that the sailing, well, isn’t quite as smooth as Block keeps insisting.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">For openers, Richie soon gets braced by FBI Special Agent Shavers (Anthony Mackie, unpleasantly shrill), who wants Block for racketeering, extortion, bribery and probably a few other niggling charges. Trouble is, Costa Rica is beyond Shavers’ jurisdiction — hence no chance of extradition — and Block has the moolah to buy all the local cops and judges he might require.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Naturally, Rebecca is too much of a stunner for Richie to ignore, despite the fact that her relationship with Block seems more than purely professional. (All the willing female flesh on hand, and of course Richie wants the babe that common sense insists he shouldn’t pursue.) And, just as Richie never questions Block’s slick patter, he similarly doesn’t think twice about Rebecca’s come-hither advances. Like, after all this time with Block, she’d suddenly decide to fall in love with somebody else, and this eager-beaver Princeton grad student would be The Guy?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Oh, puh-<i>leaze</i>.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">(Given the high-rolling self-indulgence on display, this film is surprisingly chaste: not a bared breast in sight, let alone any of the erotic sexual antics one would expect. But I digress again.)<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Things get increasingly sloppy, with folks apparently changing their allegiances as a given scene demands. One sidebar character gets killed off-camera, except that he doesn’t; we’re later told that he was merely badly beaten, but is okay ... not that we ever see him again. Mind you, the narrative, as presented, demands that said individual <i>should</i> have been killed ... but that’s just the way Koppelman and Levien roll.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">John Heard is memorable as Richie’s deadbeat father, a gambling addict who wants only that his son not follow in his footsteps. Heard is understated, his Harry Furst a sad remnant of a man, and this low-key performance is a welcome relief from the feverish pitch at which everybody else operates.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Furman’s directorial approach feels less like a film, and more like the overstated “acting” we generally get from the pixel avatars in first-person-shooter computer games. The overall tone is that heightened, that exaggerated, that manipulative.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Sidebar Costa Rican characters, whether in the local underworld or the local constabulary, are so poorly developed that it’s impossible to tell them apart. Some get assaulted; some do the assaulting. The details are irritatingly vague.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">By the time we reach the mildly clever climax, we’re long past caring. And, even as the film concludes, fresh questions remain unanswered ... such as, What the heck happens to Richie’s father?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Furman, relatively new on the Hollywood scene, has two previous films to his credit. 2007’s <i>The Take</i> was stillborn, but he did a reasonably slick — if somewhat overwrought — job with 2011’s adaptation of Michael Connelly’s <i><a href="http://derrickbang.blogspot.com/2011/03/lincoln-lawyer-sloppy-defense.html">The Lincoln Lawyer</a></i>. The result was engaging enough to suggest that, allied with competent writers, Furman could rise above hack-dom and carve out at least a minor career in B-flicks.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">This limp exercise, however, won’t do him any favors.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Just in passing, “runner-runner” is a poker term that refers to a Texas Hold ’em hand made by hitting two consecutive cards on the turn (fourth) and river (fifth) cards. The odds of such success are, as you might imagine, extremely slim: an apt description of this maladroit flick’s chances at the box office.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Ya gotta know when to fold ’em.</span><span style="font-family: Times New Roman;"><o:p></o:p></span></div><!--EndFragment-->

2013 Anthony Mackie Ben Affleck drama gambling Gemma Arterton John Heard Justin Timberlake Michael Esper Oliver Cooper Runner Runner: A fouled hand

Runner Runner (2013) • View trailer 2.5 stars. Rating: R, for profanity and occasional blunt sexual candorBy Derrick Bang 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormal…

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Prisoners: We cannot escape our nature

<span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b><i>Prisoners</i> </b></span></span></span></span></span></span><b>(2013) • <a href="http://trailers.apple.com/trailers/wb/prisoners/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b> </b><br /><b>Four stars. Rating: R, for profanity, torture and disturbing violent content</b></span></span></span></span></span></span></span></span><br style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a> • </b></span>Originally published in <i><a href="http://www.davisenterprise.com/" style="color: #27a9c5; text-decoration: none;">The Davis Enterprise</a></i>, 9.20.13</b></span><br /><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--> <!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <!--StartFragment--> <br /><div class="MsoNormalCxSpFirst"><span style="font-family: Arial, Helvetica, sans-serif;">Revenge thrillers have become a violent — often tawdry — Hollywood staple.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Not this one.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1V-43GzrMCo6-CbCeQ0U3cuY0VB8BzZJcDt1JGArXfhyWzjJRrKGedLKpK64RxFQN2DWRcTiD2BzzWi-fQ5Gc5niVHkkjYUElQxYM5WU-B3tQRYqunFYmuxiAXY7-j2YRac7ljonG2Tg/s1600/Prisoners+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1V-43GzrMCo6-CbCeQ0U3cuY0VB8BzZJcDt1JGArXfhyWzjJRrKGedLKpK64RxFQN2DWRcTiD2BzzWi-fQ5Gc5niVHkkjYUElQxYM5WU-B3tQRYqunFYmuxiAXY7-j2YRac7ljonG2Tg/s400/Prisoners+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">When Alex (Paul Dano, on his back) is released for lack of evidence, Keller (Hugh<br />Jackman) angrily confronts the younger man, convinced that he knows more than he's<br />telling about the disappearance of two little girls. Given time to think and plan, Keller<br />will continue this "conversation" in a less public setting, and with a decidedly more<br />dangerous intensity.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Prisoners</i> is a brooding, atmospheric slow burn: part character drama, part mystery, part thriller ... and all-consuming. It has a distinctly European feel despite the small-town Americana setting: very much in the unsettling mode of French director George Sluizer’s 1988 chiller, <i>Spoorloos</i>, which he remade five years later with an American cast, as <i>The Vanishing</i>.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Prisoners</i> comes from the capable hands of Québec-born director Denis Villeneuve, whose résumé includes tension-laden dramas such as <i>Maelstrom</i> and <i>Polytechnique</i>, and who garnered an Oscar nomination for 2010’s <i>Incendies</i>. Point being, Villeneuve has a superb sense of atmosphere and a knack for making the most innocent scene feel enshrouded by a blanket of malevolence.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">He also has a gift for drawing persuasively authentic performances from his actors, and that’s certainly the case here. While the entire cast is compelling, stars Hugh Jackman and Jake Gyllenhaal are sensational. Both are gifted actors; both have been fine before. Under Villeneuve’s capable guidance, they’re even better.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The story opens on a cold, overcast Thanksgiving Day in a working-class Pennsylvania suburb: the kind of town where kids set up lemonade stands. The homes and yards are tidy but looking a bit distressed: fading paint and weather-beaten vehicles a testament to folks barely hanging on during the tough economy.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Out in the nearby woods, Keller Dover (Jackman) offers a solemn prayer to God before encouraging teenage son Ralph (Dylan Minnette) to squeeze the trigger and claim his first deer. It’s a clean shot; as they drive the carcass home, Keller — a survivalist by nature — explains that they must be prepared at all times, must be their own strongest advocates, must expect to take charge when others inevitably fail.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Keller collects his wife, Grace (Maria Bello), and their 6-year-old daughter, Anna (Erin Gerasimovich); the family strolls up the street to celebrate the holiday with best friends Franklin and Nancy Birch (Terrence Howard, Viola Davis). Ralph pairs off with teenage Eliza (Zoë Soul), who disapproves of the elder Dover’s fondness for hunting; Anna and 7-year-old Joy (Kyla Drew Simmons) play together with the exuberance of small children.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Cinematographer Roger Deakins’ camera ... hovers. We feel nervous: can’t explain why. Even as the adults relax after the huge meal, Franklin sharing his lamentable trumpet skills, the utter normality of this staunchly American ritual — playing out, we know, in similar homes across the entire country — is pregnant with building tension.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And yet it’s simply an ordinary celebratory tableau. All is right with the world.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Until, suddenly, it isn’t.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br /> <div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Keller notices first: The little girls haven’t been seen for awhile. Everybody searches — initially calm, increasingly frantic — to no avail. Anna and Joy are simply <i>gone</i>.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Police are summoned; the case falls to Loki (Gyllenhaal), a loner detective whom Keller instinctively mistrusts for his youth, his (supposed) inexperience and his failure to have a family of his own, thereby branding him as somebody who Simply Doesn’t Understand. Ralph remembers an odd, dilapidated RV that had seemed out of place when he and Eliza had taken the little girls for a walk earlier.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The vehicle is found; police arrest its driver, a quiet, withdrawn and deeply frightened twentysomething named Alex Jones (Paul Dano). Much as Loki wants this to be The Guy, there’s nothing on which to build a case. The RV contains no physical evidence; more to the point, the developmentally disabled Alex has the mind and social awareness of a child.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And yet ... he was driving the RV. By himself.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Keller seizes on this little detail, can’t let go of it; to him, this indicates proof. Then, when the police are forced to release this suspect for lack of evidence, Keller is present when Alex looks him straight in the eye and says something that nobody else hears: something possibly innocuous, but Keller thinks otherwise.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And, so, he takes matters into his own hands.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">On this level, Aaron Guzikowski’s enormously taut and clever script is ripped from contemporary headlines and ceaseless discussions of post-9/11 morality. If “society” — in this case, the local police — seems ineffectual or unqualified, is individual action appropriate? How far should it go? Do the stakes justify <i>any</i> approach, no matter how cruel or heinous? And, God forbid, what if you’re wrong?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Villeneuve subsequently cross-cuts between three simultaneous storylines: Keller’s determined effort to wrest Truth from Alex, with the reluctant participation of Franklin; the agonizing, engulfing stasis that smothers the wives and elder children left back in their homes, as every minute stretches into an eternity of self-recrimination; and Loki’s dogged pursuit of stray threads that offer the tantalizing hope of a lead, but inevitably go nowhere.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Still, something’s definitely not right; the vibes are off. Keller has badly misjudged Loki; truth be told, this young detective will move heaven and earth in order to solve this case. Nothing else matters, particularly the dubious glances coming from colleagues and his ineffectual oaf of a precinct captain (Wayne Duvall, everybody’s nightmare bureaucrat come to life).<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Pay close attention, because details matter; Guzikowski has orchestrated a wickedly fiendish puzzle. I haven’t seen a thriller this carefully layered, this meticulously crafted — one that builds to a slick payoff that puts all the pieces together — since M. Night Shyamalan’s <i>The Sixth Sense</i>, back in 1999 (when that fellow still knew how to make a good movie).<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Remember how knocked out you were, during that film’s climax? How ingenious you thought it was, at the moment of revelation? Guzikowski delivers the same sort of emotional wallop here.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Jackman unerringly navigates a tremendously difficult role, as Keller’s apparently facile personality — impatience, snap judgment, anger-management issues — yields to an unexpectedly complex and badly damaged soul. Keller sees himself as the ultimate father figure: the provider and protector, the White Knight. When he cannot fulfill that role, his notion of self disintegrates: Jackman’s very being — his commanding aura — seems to wither away, as if the bones supporting his frame are crumbling, turning every motion into a herculean effort.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But the fury never vanishes; if anything, that particular fire sucks an increasingly proportion of Keller’s life force, leaving him less able to think, feel or question the wisdom of his actions. On top of which, Keller never loses his perceptive edge: He may be stubborn and rash, but he’s not stupid.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">It’s quite a portrait, and we can’t take our eyes off Jackman. We wince time and again, wondering how Keller can make this already frightful situation even worse.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Gyllenhaal has the quieter, less florid role; Loki is procedure personified, a methodical investigator who believes that slow and steady <i>always</i> wins the race. That said, his need to remain calm, to resist the same vengeful impulse that governs Keller, has taken its toll; Loki’s uncontrollably twitching eyes betray his own bottled-up rage, his fear of impotence. When that fury does erupt — quite memorably, in one unexpected moment — the result is shocking.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Otherwise, Loki is deceptively restrained, Gyllenhaal’s misleading smile a truly dangerous thing. I love Loki’s interviews with persons of interest, either in the station house or out in the world; despite his scruffy, sleepless bearing, Gyllenhaal is almost charming. Until he isn’t.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Dano, with plenty of misfit characters in his past, is perfectly cast as the helpless, overwhelmed Alex. He radiates the frightened vulnerability and fragility of an injured sparrow; Alex simply is no match for the raw ferocity of a man such as Keller, who — in Dano’s terrified expression — looms as a monster from the worst possible nightmare. Terrified, yet also uncomprehending; the Alex/Keller dynamic is like watching a deaf/mute being tortured by a sadist who doesn’t realize that his victim cannot speak.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Or is it all a sham, and is Dano playing us, the way Edward Norton did so memorably, back in 1996’s <i>Primal Fear</i>? Keller certainly thinks as much; if we share that sentiment, do we become complicit in what comes next?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Howard is achingly raw as the conflicted Franklin, who wants no part of Keller’s “plan” but, at the same time, places far too much value on how he measures up in his best friend’s eyes. No matter what Franklin does, as a result, he’ll betray either himself or Keller; the misery of this Hobson’s Choice radiates from Howard’s agonized gaze.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Bello has the most tragic role, because Grace simply shuts down as the catastrophe continues through and beyond the second, third, fourth day. She has bought into her husband’s role as family protector, and cannot cope with his inability to bring their little girl home. Grace’s life force simply drains away.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Davis, alternatively, moves Nancy Birch in unexpected directions, suggesting that even the most civilized individual can be pushed too far. Thanks to the intensity of Davis’ performance, we’re not surprised by any of this.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Villeneuve and editors Joel Cox and Gary Roach tighten the screws with ruthless efficiency; despite clocking in at a generous 153 minutes, the tension never flags. Indeed, the intensity simply mounts, much like the long-form TV thrillers that the British deliver so well.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Prisoners</i> — great title, by the way — is quite a ride. See it quickly, before the many layers of Guzikowski’s deliciously twisty narrative are exposed by Internet spoilers and jerkwad TV personalities.</span><span style="font-family: Times New Roman;"><o:p></o:p></span></div><!--EndFragment-->

2013 drama Dylan Minnette Four Star Films Hugh Jackman Jake Gyllenhaal Len Cariou Maria Bello Melissa Leo Paul Dano Terrence Howard thriller Viola Davis Prisoners: We cannot escape our nature

Prisoners (2013) • View trailer Four stars. Rating: R, for profanity, torture and disturbing violent contentBy Derrick Bang • Originally published in The Davis Enterprise, 9.20.13 0 false 18 pt 18 pt 0 0 false false false …

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The Spectacular Now: Dangerous Liaison

<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><i>The Spectacular Now</i> </b></span></span></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>(2013) • <a href="http://trailers.apple.com/trailers/independent/thespectacularnow/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b> </b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>3.5 stars. Rating: R, for profanity, alcohol abuse and some sensuality, all involving teens</b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a> • </b></span>Originally published in <i><a href="http://www.davisenterprise.com/" style="color: #27a9c5; text-decoration: none;">The Davis Enterprise</a></i>, 8.23.13</b></span></span></span><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--> <!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <!--StartFragment--> <br /><div class="MsoNormalCxSpFirst"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We must be our own best advocates.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It’s a difficult, often bitter lesson. Sometimes we get lucky, and somebody comes along who believes in us wholeheartedly, unreservedly.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOTcWXGUEuy7s9xlRXhP_6Fasgh3q7m0XT0rwWXMp4BoGW60ysUCcQmegvQ_a5MXwZTXx2BJhC8m5IktQWf6htJVwSTr_bGn5ZMl4ccgSnQEDGyxdenEGu2BxbLr5PxrjxrioJnUvQsQU/s1600/Spectacular+Now+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOTcWXGUEuy7s9xlRXhP_6Fasgh3q7m0XT0rwWXMp4BoGW60ysUCcQmegvQ_a5MXwZTXx2BJhC8m5IktQWf6htJVwSTr_bGn5ZMl4ccgSnQEDGyxdenEGu2BxbLr5PxrjxrioJnUvQsQU/s400/Spectacular+Now+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Aimee (Shailene Woodley), never having enjoyed the thrill of romance, falls heavily in<br />love with Sutter (Miles Teller), despite knowing full well that he's bad news. Indeed,<br />everybody in school knows about Sutter's self-destructive tendencies. The question,<br />then: When he goes down in flames, will he take her with him?</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sometimes that isn’t enough.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">At first blush, 18-year-old Sutter Keely (Miles Teller) seems the life of every party: vibrant, good-natured, aggressively spontaneous. He enjoys a relationship with Cassidy (Brie Larson), one of the most popular girls in their high school; they’ve obviously been intimate for awhile.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But Sutter’s glad-handing exterior masks uncharted depths of pain and uncertainty that he has absolutely no desire to confront. He’s a smart kid who doesn’t bother to study, much to the dismay of a concerned math teacher (Andre Royo). Sutter is left on his own too much, because his single mother (Jennifer Jason Leigh, as Sara) often works double-shifts just to keep a roof over their heads.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And Sutter drinks. Far too much, far too often. He is, in fact, a teen alcoholic, rarely seen without the shiny hip flask that he regards as a badge of ultra-coolness. He’s cheerfully on the fast-track to nowhere, a road he has traveled for several years. Doesn’t bother him a bit: If confronted, he smiles broadly and extols the virtues of living solely for the moment, for the “spectacular now.”<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Screenwriters Scott Neustadter and Michael H. Weber, who did such a marvelous job with 2009’s <i><a href="http://derrickbang.blogspot.com/2009/08/500-days-of-summer-charming-idyll.html">(500) Days of Summer</a></i> — their own original script — have done some equally sensitive work with this adaptation of Tim Tharp’s 2008 novel. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>The Spectacular Now</i> stars off as a hip, flip teen saga, displaying the raunchy language and earthy behavior we’d expect from something shallow like the <i>American Pie</i> franchise ... but that similarity fades quickly. Sutter Keely is badly damaged goods, and Teller throws himself into the role with a reckless abandon that his character would recognize. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Before we know it, director James Ponsoldt has taken us into dangerous waters; we realize that things can’t end well. The only question is how much collateral damage will be involved.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br /><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">With <i>(500) Days of Summer</i>, Neustadter and Weber demonstrated their skill with unconventional narrative hooks; no surprise, then, that this film opens with Sutter’s feeble attempt to compose an essay for what we assume is a college entrance application. He stalls when asked to discuss a personal hardship or life-changing event: uncharted territory he’d prefer to blow off. And so the subsequent film becomes the answer, as we eventually meet the catalyst who serves as Sutter’s possible life-preserver.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Assuming he’s willing to hold on.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Astute high school seniors recognize the need to plan for the future: to take that next step. Much as Cassidy loves Sutter and tingles in his presence, she recognizes that he’s holding her back. She desperately wants to flee their small Georgia town; Sutter sees no reason to change what he perceives is a winning formula.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And so she dumps him. Sort of. More or less. Can’t quite let go of him completely, despite sliding gracefully into a fresh relationship with the far more serious and stable Marcus (Dayo Okeniyi).<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sutter, nonetheless feeling abandoned, responds with a reckless night on the town. He wakes early the next morning, having passed out on somebody’s lawn, with no idea where he left his car. His timid rescuer is Aimee (Shailene Woodley), the sort of mousy, high school outcast who never gets dates, never attends school dances.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">She knows who Sutter is, though; <i>everybody</i> at school knows Sutter. She’s therefore flattered when he expresses a desire to hang out with her, even more pleased when he asks if she’ll help tutor him in geometry. After all, “tutoring” invariably turns into an excuse for something much more, ah, recreational.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sutter’s one genuine friend, Ricky (Masam Holden), is appalled. Aimee is a nice girl, Ricky protests, knowing full well that his buddy is a self-centered jerk. She’s the kind of girl who falls unconditionally in love. The kind of girl who can be hurt.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Similarly, Aimee’s best friend — played by Kaitlyn Dever, well remembered from her striking work in TV’s <i>Justified</i> — views Sutter as totally bad news.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And, at first, Sutter <i>is</i> a jerk, arrogantly assuming that Aimee is a “project”: an immature flower he can encourage to bloom. Aimee, no slouch when it comes to perception, recognizes this ... but tolerates it. She expects, with time, that the relationship can progress, become more of a sharing thing. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">How many women have gone down in flames, hoping to change their men?<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The resulting story is driven by these two young actors: most particularly Woodley, whose performance is breathtaking. Her Aimee is fragile yet foolishly impulsive: willing to embrace unwise behavior, even when she knows better. Woodley’s first scene sets the high bar for what is to follow, when Aimee finds Sutter passed out on that lawn. She giggles nervously, stumbles through inane chatter, too flustered to think straight: absolutely awed by the fact that Sutter Keely is willing to talk to <i>her</i>. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And if the warning bells go off, well, Aimee ignores them.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It must be mentioned that Woodley is far from mousy, withdrawn or unattractive, even though the filmmakers do their best to emphasize a “plain Jane” demeanor. It’s impossible to believe that any girl this adorable would be dateless. But the brilliance of Woodley’s performance includes the ability to carry herself in a manner that conceals her own beauty and charisma; she’s every inch a girl whose many attributes fade into the background, because she herself doesn’t believe they exist.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It’s an impeccably shaded performance: no surprise, coming from the young actress who held her own with George Clooney, and earned a Golden Globe nomination — not to mention a slew of other acting awards — for her work in 2011’s <i><a href="http://derrickbang.blogspot.com/2011/12/descendants-doing-right-thing.html">The Descendants</a></i>.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Teller’s acting résumé isn’t as flashy, but his work here is equally subtle and sensitive, even though Sutter often behaves like a blunt instrument. His nakedly vulnerable scenes arrive unexpectedly: a brief chat with his older sister; a long-awaited heart-to-heart with his mother; an unexpected moment of candor with the patient proprietor who owns the men’s clothing store where Sutter has an after-school job. The latter scene is particularly heartbreaking.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In his own way — often with a stiffened reaction, as Sutter looks inside himself and winces at what he finds — Teller elicits our concern about this contemptible character. That’s an impressive feat, because Sutter constantly proves himself unworthy of anybody’s sympathy ... and yet we care, despite ourselves. If not because he deserves salvation, then at least because such self-destructive tendencies are so tragic, in one so young.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Aimee, on the other hand, clearly deserves the apprehension that Woodley’s performance elicits: Our anxiety mounts by the minute, the tension building almost unbearably.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Such well-deserved praise notwithstanding, though, Neustadter and Weber’s script has some rather glaring problems. We never meet Aimee’s mother, also a single parent who remains an off-camera figure: apparently damaged in some way (mentally unstable?) that never is specified. This character’s absence becomes increasingly irritating, as the story progresses.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The narrative also glosses quite superficially over Aimee’s willing embrace of Sutter’s alcoholic tendencies, leading me to believe, early on, that we were in for a teen echo of 1962’s<i> Days of Wine and Roses</i>. But Neustadter and Weber never confront the implications of this plot point, except for a quick references to Aimee’s father having died from drug abuse, thereby suggesting a dangerous genetic predisposition, on her part.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Somehow, Aimee just doesn’t get as drunk as Sutter; somehow, she seems able to control her consumption, and it never becomes a problem for her ... despite the fact that we watch her getting loaded just as often as he does. That’s rubbish.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Worse still, however, is this film’s failure to honor the conclusion Tharp gives his novel. Longtime film fans who remember George Segal’s crisis of conscience in 1973’s <i>A Touch of Class</i> will recognize where this story is heading (and I’ll not share the pivotal quote here, because it’d be a major spoiler). Tharp’s book <i>demands</i> that conclusion, and so does this film ... but although Ponsoldt, Neustadter and Weber replicate the novel’s key final scene, that’s not quite the end of this movie. Which is a shame.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Because it’s dishonest and false, and that comes as a jolt after so much of this story — thanks to its gifted performers — feels so authentic.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Despite these shortcomings, there’s much to admire in this big-screen handling of <i>The Spectacular Now</i>. Ponsoldt draws excellent performances from his young stars, and the supporting players are equally memorable. You’ll not soon forget Kyle Chandler’s brief turn as the estranged father Sutter eventually meets.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This summer has been marked by the failure of gazillion-dollar action franchises, and the much more satisfying success of “little films” with a fixation on coming-of-age storylines. We’ve seen three now — following <i><a href="http://derrickbang.blogspot.com/2013/06/the-kings-of-summer-this-film-rules.html">The Kings of Summer</a></i> and <i><a href="http://derrickbang.blogspot.com/2013/07/the-way-way-back-droll-little-gem.html">The Way, Way Back</a></i> — and they’re all a treat. And if this one doesn’t quite live up to the adjective in its title, it’s nonetheless quite memorable and well worth viewing.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">After all, most of us recall the agonies of star-crossed young love ... and Neustadter and Weber definitely nail <i>that</i> vibe.</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><o:p></o:p></span></span></div><!--EndFragment-->

2013 Brie Larson drama Indie Drama Jennifer Jason Leigh Kyle Chandler Miles Teller Shailene Woodley The Spectacular Now: Dangerous Liaison

The Spectacular Now (2013) • View trailer 3.5 stars. Rating: R, for profanity, alcohol abuse and some sensuality, all involving teensBy Derrick Bang • Originally published in The Davis Enterprise, 8.23.13 0 false 18 pt 18 pt 0 0…

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