Drive One Thrilling Commute

Drive

The rumbling started early in the theatre, at first it was just a few snide comments here and there. By the time the credits started to role the crumbling had reached its crescendo when one viewer yelled out “this is one of the worst movies I have ever seen.” While each person is entitled to their own opinion, it was clear that the majority of the audience was anticipating a completely different film than what they got. The marketing campaign is trying to sell Drive as a film that is in the same vein as The Transporter series, when in fact it is a far slicker film noir that does not mainly rely on “fist of fury” to advance the plot.

Ryan Gosling continues his string of stirring performances as an unnamed man, referred to as “Driver”, who has an unbelievable talent when it comes to cars. Working as both a mechanic and a part-time film stunt-driver, Driver tends to keep to himself. He barely talks to his boss Shannon (Bryan Cranston). This all changes when Driver meets and falls for his next door neighbour Irene (Carey Mulligan), a single mother whose husband Standard (Oscar Isaac) is unexpectedly released from prison early. Standard owes money to some men who are threatening to harm Irene and his son Benicio (Kaden Leos), if he does not agree to rob a pawn shop. Fearing for Irene and Benicio’s safety, Driver volunteers to be Standard’s getaway driver. What Driver does not know is that the money they are about to steal belongs to local gangsters Bernie (Albert Brooks) and Nino (Ron Perlman).

Drive is very reminiscent of the action thrillers that the likes of Michael Mann and Brian De Palma use to make in the 80’s. Nicolas Winding Refn infuses the picture with his unique style which allows the film to separate itself from contemporary action films. One thing audiences will notice immediately is how little dialogue is spoken by the protagonist. While Albert Brooks and Ron Perlman play their scenes large, Gosling is always internalizing his emotions. There are numerous scenes in which Refn lets the camera quietly linger on Driver’s face as the character works things out. Having an action film that is filled with more quite moments than heart stopping action is almost unheard of in an age where action films are usually filled with loud explosions.

This is not to say that Drive is devoid of action, in fact the film has several great action scenes. The major difference here is that scenes of violence flourish as a result of the silence that often precedes it. Like most of Refn’s films the violence is brutal and unflinching, but never reaches the point of being gratuitous. Refn also keeps the action leaning towards the more realistic side of things. There is no scene where Driver is in a shootout with eight guys at once, nor is there a scene where Driver is jumping out of a building just before it explodes. The final action sequence may seem underwhelming to those expecting a standard action film ending, yet in the context of the world that Refn has created, the sequence works extremely well.

Refn is meticulous with how he orchestrates both his action scenes as well as his quieter moments. In one tense elevator scene, Driver slowly moves the unaware Irene behind him for safety. The use of lighting in this scene is brilliant. Refn first darkens the elevator to accentuate the pending violence, but then brightens the light on Irene to symbolize her character’s awakening. In the span of a few minutes Irene shares a romantic moment with Driver and also realizes his tendency towards violence. It is moments like these that make Drive such a thrill to watch.

Never Let Me Go to Hailsham

Never Let Me Go

There are times when we all question our purpose in life. Whether it is when we are swamped with work; having issues with a relationship; or merely feeling a case of the blues on a given day. Despite this, the fact that we have the option to change our path always offers up a glimmer of hope at our darkest points. Yet, what if our lives were already mapped out for us from birth? Instead of having dreams of being a doctor, lawyer, engineer, writer, etc; how would you feel if you found out that your sole purpose in life is to sacrifice yourself for the greater good of mankind?

This is the dilemma that the characters in director Mark Romanek’s film, Never Let Me Go, must face. Based on the novel by Kazuo Ishiguro, the film follows three childhood friends, Kathy (Carey Mulligan), Tommy (Andrew Garfield), and Ruth (Keira Knightly), from their days in an English boarding school, Hailsham. While at school they follow the strict set of rules that their headmistress, Miss Emily (Charlotte Rampling), has outlined for them. Their harmonious way of life starts to show cracks when a new teacher, Miss Lucy (Sally Hawkins), reveals a secret about the school that will greatly impact the students.

Never Let Me Go was a film that did not impress me at first but, ultimately, I am glad I stuck with it. The slow pacing and seemingly typical love triangle had me wondering about all the positive reviews I had read. Fortunately the intricate and subtle layers of the film started to reveal itself and I became completely enthralled. Part of the lure of the film is that Romanek never opts for the big flashy scenes. Instead he draws out the sorrow and allows his actors to really revel in their character’s situations. Never Let Me Go offers many deep questions such as what is the value of a life? Do we have souls? And how do we assess who deserves to live and who deserves to die?

The three leads do a great job of showing the complexities of having hope in a hopeless situation. Carey Mulligan is really developing into quite a wonderful actress. She is slowly living up to the hype that arose after the release of An Education. Mulligan not only sold the bittersweet love story with Tommy; but she also, in her role as caregiver, showed how easily one can be desensitized to death. She questions if there is any real difference between those who are dying and the people they are saving.

One of the reasons that Mulligan is so effective in her role is the natural chemistry she has with both Keira Knightly and Andrew Garfield. Knightly shines as the vindictive Ruth, who may not be as strong as she seems. Knightly could have made Ruth an unlikeable character, but opts to make her far more rounded than you initially expect. Garfield on the other hand does of good job of portraying the fragile nature of Tommy without making him annoying. Even when the adult version of Tommy finally realizes his fate, it is his restraint and a somber tone, after a brief outburst, that speak volumes.

Never Let Me Go is a film that is far deeper, and frankly far better, than I had initially anticipated. It is subtle and powerful without ever ignoring the greater questions. This is a film that deserves to be both seen and discussed, as it will provide interesting debate.

In Tyler We Trust?

In Tyler We Trust?

Over the weekend, after watching I Can Do Bad All by Myself, my sister-in-law remarked that “Tyler Perry is always one step away from making a really good movie” to which I countered that it is more like two or three steps…and that is being generous. Still I could see what she was trying to get at. Every one of his films has the potential to be great, yet Perry’s knack for over stating the obvious does him in every single time. Truth be told, I have yet to see a Tyler Perry directed movie that I have liked. Despite this I think Hollywood needs more directors like Perry.

Now you may be wondering why would I want more Tyler Perry’s in the film industry when I cannot stand the one we current have? This is a question I have struggled with myself on several occasions. Unfortunately the answer is not that simple. On one hand I am constantly annoyed by the same formula that occurs in the majority of his films. There is always a woman who is in relationship with a man that the entire world can see is bad. How bad is he? Well Perry usually makes him an adulterer, wife beater, rapist, drunk, or some combination of these traits. The woman is often the victim until she realizes her self-worth and fights back. Usually this realization is achieved through the aide of a good looking blue collar guy who the woman cannot stand at first but eventually falls in love with. Also, let’s not forget there is always the influence of a few spiritual gurus.

As overdone as this formula is, Tyler Perry’s films consistently make a huge profit at the box-office. Perry continues to taps into a market that Hollywood routinely, and foolishly, neglects…the African-American female demographic. Tyler Perry is one of the few, I would even argue, the only, commercial male director working today who places African-American women at the forefront of his film. If you look at the current crop of actors and actresses headlining movies nowadays, how many lead black actresses can you name besides Halle Berry? Angela Bassett? She has not headlined a major film in years. How about Kerry Washington? Zoe Saldana? Taraji P. Henson? Thandie Newton? All of whom are talented actresses but can you name a major non-animated film that they were the lead in? It is far easier to list off the numerous films that featured the likes of Charlize Theron, Angelina Jolie, Jennifer Aniston, and even newcomers like Carey Mulligan in the lead. Most of, if not all of, there films play to large audiences worldwide.

African-American actresses, heck actresses in general, have gotten the short end of the stick for years in the film industry. This is why we need more guys like Tyler Perry in Hollywood. Directors who are interested in telling stories that not only feature African-American actresses in prominent roles; but are accessible to all demographics. Preferably ones who are far better filmmakers than Perry, but you get the point. This is by no means a plea for affirmative action in film, it is merely an observation as to why Tyler Perry is able to turn out films faster than Woody Allen these days.

When watching a Tyler Perry film, I am constantly reminded about how the first Sex and the City movie was underestimated by the Hollywood pundits. Once that film made a huge splash at the box-office, Hollywood was more than happy to fast track films and television shows that appealed to the modern single woman. The same can be said for the whole Twilight phenomenon. Now studios are itching to find the next big thing that teenage girls will go crazy for. Yet the large number of women who are pouring billions into Tyler Perry’s pockets are still being underserved by Hollywood. Why is this? Love him or hate him, Tyler Perry is the only one who has tapped into a lucrative market that few directors have even considered to touch.

A Conventional Education Passable But Not Stellar

An Education

The Golden Globes were announced yesterday which means we now must endure weeks of the “who got snubbed” debates. Personally I do not really care for the Golden Globes. I find they often tend to nominate the films/television shows that will ensure the biggest celebrity turnout for their telecast. Still, I cannot bash the Golden Globes as there are times when they do get their nominations and winners right. One film in particular this year, An Education, has been appearing on many critics' “top ten" lists for Best Pictures of the Year. Surprisingly it did not make the cut for the Globes. The film only received one nomination, Best Actress, for Carey Mulligan’s phenomenal work in the film. Some may consider this a huge snub but I actually think they made the right choice.

Set in the early 1960's, sixteen year-old Jenny Mellor (Carey Mulligan)lives with her parents (Alfred Molina and Cara Seymour) in the London suburb of Twickenham. Her father, Jack (Molina), wants nothing more than to see his daughter attend Oxford. Though Jenny is a gifted student, her marks in Latin may hinder her chances of being accepted at the prestigious school. While heading home one day Jenny meets David (Peter Sarsgaard), a charming man more than twice her age. David exposes Jenny to an exciting world that she that she only dreamed about. As Jenny and David become closer, Jenny is forced to question what is the true value of an education?

As coming-of-age tales go, An Education is a rather enjoyable film but far from great. Sure it was nice to see a film like this from a young woman’s perspective that did not involve “magical fitting pants” or a big “prom” scene at the end. The reason this film works well at the level it does is partly because of the era it is set in. Since there were limited options for women at the time, it makes it a little easier to believe that Jenny’s parents would be charmed by this man who is more than twice her age. It also allows for many of the characters to observe what is happening without really speaking up against it.

While I did like the film it must be noted that An Education is rather light on substance. Which is rather odd, especially considering the subject matter that is in the film. The problem is An Education never bothers to give us any real insight into David at all. Sure we see how he gets his money, but you never really see what makes him truly tick. The final arc offers a little snippet but it only serves as a launch point for the all too sweet ending. As a result Sarsgaard is not given much to work with and provides the weakest performance in the whole picture. Peter Sarsgaard is a great actor who usually nails his roles. Yet he only seems to hit one-note, "creepy man-child", through this entire picture. After a while I found myself being more interested in the possible relationship between Jenny and David’s friend, Danny (Dominic Cooper). Come to think of it, I would have preferred if Sarsgaard and Cooper had actually switched roles. Cooper exuded far more charisma in his minor role than Sarsgaard did in the whole picture. Frankly the majority of the cast outshines Sarsgaard in the film.

Carey Mulligan and Alfred Molina are definitely the main reasons that the film kept me interested as long as it did. Mulligan carries the entire film on her back and is nearly flawless will doing so. She provides a refreshing and realistic portrayal of what it is like to be a teenage girl. Although the picture is set in the 1960’s she truly makes her character timeless. Molina is great as Jenny’s father as he hits all the right comedic and dramatic notes. The thing I like about Molina’s work here is that he truly understands his characters motives. Jack only wants the best for his daughter but his ambitions for her success blind him to the reality of the situation. Take away Mulligan and Molina and An Education is really much ado about nothing. While the film is not as deep as it appears to be, An Education is still worth seeing if nothing else for the performances.

Enemies Make Feud Public

Public Enemies

The story of Robin Hood has always been appealing on tale. The idea of someone taking from the wealthy and giving to the poor does have a nice ring to it, especially in this current economy. Yet is it way he swoops in and steals the money? Or is Robin Hood himself that makes the tale interesting? These questions crossed my mind while watching Michael Mann's Public Enemies.

Set during the fourth year of the Great Depression, crime is on the rise and notorious bank robber John Dillinger (Johnny Depp) is making a mockery of the law. Fed up with Dillinger's antics, the Director of the FBI, J. Edgar Hoover (Billy Crudup), assigns agent Melvin Purvis (Christian Bale) to lead a task force to bring John Dillinger to justice once and for all. Purvis soon realizes that capturing Dillinger will be much harder than both he and Hoover had ever expected it to be. Dillinger shows no signs of slowing down nor does he have any weaknesses. Of course this may all change after he meets the Billie Frechette (Marion Cotillard).

Though he kept everything he stole Dillinger was still viewed as the Robin Hood of his time. Dillinger became a symbol for those suffering through the Great Depression . Yet the Depression merely serves as a backdrop for the film as Mann is more interested in the various ways Dillinger robbed banks and broke of jail. While these moments were very entertaining to watch, by time the film ended, I could not help but wonder how much did I actually learn about any of the parties involved? Clearly John Dillinger was a charismatic criminal who had the intelligence needed to get away with what he did. Yet after the jail break scene, and the scene were the cops pass him in the car, you have to question whether Dillinger truly was a genius? Or were the cops just really dumb?

Since Mann opts not to delve too deep into his characters we only get glimpses of what makes the characters tick. This is most evident when you look at Bale's Melvin Purvis, who really gets short changed in this picture. Purvis is clearly way over his head when he is promoted but we rarely see how the pursuit affects him emotionally. This ultimately diminishes the impact of what happens to him at the end of the film. Also, Mann does not provide Bale room to truly showcase his range. Purvis is a rather one-note character throughout the entire film. Despite Purvis' many errors and his inner turmoil, Mann portrays him mainly as the hard stoic agent. Bale would have been much more interesting in the film had he been able to show more of the cracks within Purvis' wall.

Aside the limitations set on Bale , the majority of the cast does a decent job of breathing life into their characters. Depp and Cotillard are the standouts in the picture as there scenes together offer a nice break from the standard cops and robber stuff. Despite the lack of depth, Mann does create a film that is, if nothing else, fairly entertaining. All the trademark Mann element's are there: the handheld video shots, the elaborate shootout sequences etc. Although Public Enemies is not as spectacular as I hoped it would be, it was entertaining enough for a mild recommendation.