Sometimes second place might as well be last place in the film industry. Pity Andy Serkis and the years he spent making a live-action, mo-cap enhanced version of The Jungle Book only for Disney to scoop him years in advance and deliver a billion-dollar hit. It’s impossible not to compare the two and unfortunately Serkis’ passion project is found wanting in many areas. For starters, there’s far less Shere Khan (voiced by Benedict Cumberbatch), which is a shame. He’s really only in the film for very little. I think Cate Blanchett is miscast as the voice of the snake, Kaa, who acts like a grand keeper of the jungle’s history and future. I’m not sold on Serkis as Baloo, a grumpy paternal figure present from the beginning that trains the wolf pups so they can join the pack. The middle half-hour Mowgli spends in the company of man with a kindly poacher also feels like the movie is spinning its wheels. It keeps the rest of the jungle on hold. There are some rather dark asides that can be quite surprising, from wolf pups plummeting to their doom, bloody scars, cute severed heads to haunt your dreams, and three separate occasions where characters will watch the light vanish from a dying animal’s eye. It’s definitely a more brutish, cruel, and dangerous world, but at what greater expense? The characterization doesn’t add up to much. The character relationships are minimal. The CGI creatures and settings look unfinished. The whole enterprise feels rushed even though it’s been on the shelf for some time, which may be why the studio was eager to sell it to Netflix for a cool $90 million. You’ll watch Mowgli and nod, generally entertained, but questioning whether it’s 90-million worth.
Nate’s Grade: C+
A slow-paced Western with A-list actors, Scott Cooper’s Hostiles is a ponderous Western that feels too lost in its own expansive landscapes. It’s about an Army captain (Christian Bale) reluctantly taking the lead to escort a Cheyenne chief to die on his native soil. As you could expect from that premise, Hostiles is reverent and meditative to the point of boredom. It deals with Major Themes about man’s place in the world, connection to nature and the land, and our treatment of Native Americans, but it feels like it believe it’s saying a lot more than it accomplishes. The final film is over two hours but I kept waiting for the movie to feel more substantial, for the real story to start. The premise is workable and there are some interesting side characters, notably Rosamund Pike as the sole survivor of her family’s Native American attack, but it all feels underdeveloped to serve the central figure. It’s a story of one man having to come to terms and forgive himself for the cruel things he’s done in the past in the name of glory, honor, and patriotism. There are too many moments where characters reach out to remind him that he is, in fact, a Good Man. It gets to be too much. The talented supporting cast is generally wasted. Bale (The Big Short) is very internal, almost far too insular as a man speaking with looks and eyebrow arches, as he feels the weight of his soul over the course of this journey. I just grew restless with the movie and kept waiting for it to change gears or get better. Hostiles is not a poorly made movie, nor without some artistic merit, but it’s too languid and lacking.
Nate’s Grade: C+
Adam McKay is not exactly the kind of name you associate with a prestige picture that’s building serious Oscar heat. McKay is best known as the director and co-writer of Will Ferrell’s best movies, from Anchorman and its sequel to Talladega Nights and the underrated 2010 buddy cop movie, The Other Guys. If you stuck through the closing credits for Guys, you were treated to an animated education lesson on the size of Wall Street’s greed and accountability in regards to the 2008 financial crisis. It was impassioned, angry, and an interesting note to end an otherwise goofy comedy. The Big Short is based upon Michael Lewis’ (Moneyball) best-selling book and it’s a disaster movie where the biggest disaster is the world economy. The movie McKay co-adapted and directed is bristling with intelligence, indignation, and a clear purpose. He wants to make you very angry, and by the end if you’re not, you haven’t been paying enough attention.
In the wake of the financial collapse in 2008, the fallout was so tremendous that many people felt nobody could have seen this coming. There were a few and they made out like bandits while trying to warn others about the impending doom. In the early 2000s, Michael Burry (Christian Bale) is a hedgefund manager who sees warning signs that the housing market is a bubble ready to burst. He sees the toxicity of the majority sub-prime mortgages wrapped together and sold as a seemingly safe security, a CDO (collateralized debt obligation). His bosses think he’s mad and they’re furious when they discover Burry has gone from bank to bank making big bets against the housing market. The banks are eager to take what they believe to be easy money from a sucker. How could the housing market burst? Other Wall Street investors take notice of Burry, notably Jared Vennett (Ryan Gosling) who pitches the plan to “short” the housing market. Nobody takes him seriously except Mark Baum (Steve Carell) and his small team who works for Goldman Sachs. Baum is curious how something so large could go unnoticed, so he and his team fly to Florida and Vegas to investigate the realities of the market and what they find does not match the rosy cheerleading from Wall Street. A pair of wannabe traders (Finn Witrock, John Magaro) stumbles across Burry’s analysis and try to make their own bets, except they need a bigger name to make the trades. They reach out to an ex-Wall Street trader (Brad Pitt) who agrees to shepherd them on this quixotic quest. Are these men righteous defenders of fraud or just people trying to get their own cut of the pie?
The brilliance of The Big Short lies in its accessibility and the virulent passion that McKay has for the subject matter. The movie is structured like a heist and an underdog story, suckering in the audience to root for the upstarts trying to fleece the big banks and profit off their greed and stupidity. For the first 90 minutes or so, the film comes across like a caper and we follow our group of misfits as they fight against the conventional wisdom that the housing market could never topple. These guys see the signs and the risks that others could not or would not see, especially since the flow of money was rich and the good times could be shared, which lead to collusion from the very same agencies designed to regulate and enforce the financial laws. For those 90 minutes the movie flies by on its sense of whimsy and are-we-getting-away-with-this good fortune, putting our band of misfits in position to win big on the losses of the ignorant and fraudulent. And then, in one swift move, it all comes down and you’re reminded, rather indignantly by Pitt’s character, that what they are benefiting from is the meltdown of the U.S. housing market and by extension the American economy. What once felt like a celebratory caper now starts to feel queasy, and it’s in the last act that The Big Short reminds you just how awful the events of the 2008 financial crisis were and how these guys did nothing more than benefit from mass misery. These are not heroes, though Mark Baum is given plenty of moral grandstanding moments that present him as the closest thing we have in the picture. These were a bunch of guys who got rich betting on a lot of other people’s bad bets, bets that almost destroyed the world’s economic systems. The concluding half hour feels like a sudden stop after a sugar rush, where you’re left to question your decision-making but also come to terms with the reality of what seemed like a fun time. McKay lures his audience in with the guise of a heist/underdog story, appealing and accessible avenues of cinema, and then serves the cold hard medicine in the concluding moments.
McKay is admirably trying to educate and advocate while he entertains, but he truly wants the audience to understand why they should be sharpening their pitchforks. At several points, characters will break the fourth wall and talk directly into the camera, admitting that certain events didn’t happen exactly as we saw, or occasionally they’ll remind us that what we watched was exactly how it happened. It’s a measure that isn’t overplayed and helps juice the spirits of the movie, becoming something of a confidant in the schemes with the onscreen participants. When things gets a little hard to understand with the mountain of Wall Street lingo, McKay will cut to celebrity cameos to help explain the more arcane instruments of the financial system. Margot Robbie luxuriates in a bubble bath and explains sub-prime mortgages, Anthony Bourdain explains CDOs, and Selena Gomez, in a rather cogent analogy, explains synthetic CDOs as an endless chain of side bets being made off one hand of blackjack. The movie goes pretty fast and a viewer might experience information overload but McKay knows when to slow things down and provide a well-timed assist so that his learned audience will see the true extent of the corruption and greed rampant in how Wall Street handled its business.
Of the three storylines, I found Mark Baum and his team easily the most interesting and I think McKay and co-screenwriter Charles Randolph (The Interpreter) agreed, which is why he’s the biggest part of the movie. Burry gets things started but he recedes into the background after the first act, and that’s where Baum and his financial team step into the spotlight to further explore how unstable the housing market just might be. I think this is Carell’s best dramatic performance to date (I wasn’t wowed by Foxcatcher). He’s playing perhaps one of the angriest people seen on screen but that’s because he has a moral center and the bad business practices, let alone the sociopathic greed of his “peers,” constantly enrage him. He’s something like a flabbergasted crusading journalist who keeps shaking his head in stupefying revulsion at just how deep this whole thing goes. Having Baum as our entry into the moral morass of Wall Street allows the audience to feel a sense of ethical superiority, and then like Pitt’s character, it can all go away with one perfectly articulated retort. There’s a moment where Baum is lambasting a mortgage ratings officer (Melissa Leo, her only scene too) after she admits that if they don’t rate bad mortgages as good, the banks will just go to their competitor, and then she accuses Baum of being a hypocrite. His reason for the office visit is not his outrage at the fraud but the fact that this fraud is holding up his winnings. He’s not the crusader he may wish to be. Bale (American Hustle) and Gosling (Only God Forgives) are perfectly cast and provide strong supporting work in small doses spread throughout. Pitt is in 12 Years a Slave producer mode where he knows he needs to appear in the movie to better sell it to audiences, and so he’s here and rather unremarkable. There is a bevy of familiar faces (Marisa Tomei, Rafe Spall, Max Greenfield, Karen Gillan) appearing in small moments as if everybody in Hollywood wanted to get in on McKay’s party.
There is one annoying misstep in the movie and it occurs about halfway and it’s made to stretch out the stakes in a haphazard manner. The Big Short is a disaster movie where the audience knows exactly when the disaster is coming, and yet there’s a section in the middle where the characters are all left in doubt whether their big bets will pay off because of the ratings fraud. Burry is threatened with losing his job. It’s silly because we know the economy is going to crash in 2008, but the movie throws out a weak obstacle that, hey, maybe it won’t crash. It reminds me of the Hinderberg movie from the 1970s. There were several moments where it looked like that zeppelin full of hydrogen was going to go up in flames… except students of history know that moment is fated in New Jersey, so all the close calls were foolish fake-outs for a major event that was well anticipated. We all know the economy is going down so there’s no need for the manufactured doubts.
McKay and company want to wake up a fairly apathetic general public about the crimes and negligence of the Wall Street robber barons that risked the world’s economy and then managed to skip out on the tab. The tones can juggle wildly, and I’d credit McKay’s background in comedy for his ability to maintain a reliable and firm comic footing for the film without losing the significance of his message. It’s hard to nail down a genre for the movie; it’s a dark comedy, a drama, a true crime picture, and a wake-up call. You have moments that feel like a heist flick and moments that feel like a sickening journalistic expose. It’s got highs, lows, laughs, groans, and plenty of human emotions, though the most prominent would be disgust and disbelief. The Big Short is advocacy populism as pop-entertainment, and it succeeds ably. It’s an economics lesson for the public. At the end of the movie, the closing text informs us about “bespoke tranches,” which are investment opportunities that banks are flocking to ($5 billion in 2013 to $20 billion in 2014). It’s just another name for CDOs. Unless an informed public demands action from the system, it seems that Wall Street is doomed to repeat its same high-risk mistakes and that same vulnerable public is doomed to clean up the mess.
Nate’s Grade: A-
Director Ridley Scott (Prometheus) is back to work some of his Gladiator magic on another sword-and-sandals epic, the classic story of Moses, this time played by an ever-bedraggled and bearded Christian Bale. It’s been a banner year for Christianity at the movies, though most of those films have been uninspiring save for Darren Arofonsoky’s radical and ambitious Noah. That movie did not go over well with many conservative ticket-buyers. That’s the danger of adapting the biblical epics; pleasing the core audience means not straying too far from the accepted renditions of the oft-told tales, no matter if those popular renditions are themselves inerrant. Exodus: Gods and Kings is an underwhelming translation that slogs through the miraculous. It’s empty CGI wonder in place of authentic storytelling and emotional resonance.
Exodus: Gods and Kings is a big-budget biblical epic that is startling in what it lacks, namely any amount of surprise or character development. The Moses story is oft told so I’m glad that Scott’s film skips ahead to when he’s already an adult. No basket in the reeds necessary. The brotherly conflict has little impact because, besides Moses, no other character is even given proper attention. Ramses (Joel Edgerton) is pretty much a thoughtless killer from the start, someone who ignores his advisers when it comes to political unrest and just slaughters his own starving people. He is by no means a dynamic villain in any shape, which is disappointing because the role has such dramatic potential. The 1998 animated film The Prince of Egypt did a better job exploring the relationship between Moses and Ramses, the pharaoh. In fact, that movie did just about everything better, and it had some pretty songs too. Stuck with a one-note villain, Exodus tries to round out Moses by making him a figure of doubt, providing an arc where he finds his voice when he finds his faith in Judaism. The film even sets it up so Moses has to go on his quest so he can just return home to his family. It’s a pretty strict hero’s journey storyline. Bale is plenty good. His character just isn’t that interesting nor is anyone else. Being stuck with this crew for 150 minutes can get to be rather tedious. That’s because the real emphasis has been put on the special effects and digital landscapes. The action is acceptable but little sticks in your memory. I’m starting to become numb to CGI spectacle. I’m starting to think back to the epics from the 1950s and 60s, when there was no such thing as computer effects. Every person assembled for those epic shots of huddled masses was a real human being, and that’s becoming more impressive with each and every CGI spectacle with copy-and-paste digital figurines.
Given the predictable nature of the plot, you try and find little moments or directions that stand out, something, anything to mark this newest Moses story as different from the numerous retellings of cinema’s past. Beyond the modern-day special effects and the strength of Scott as a visual artist, here is a short list of what you have to look forward to with Exodus: Gods and Kings.
1) An attempt to ground a biblical epic with realism. If conservative audiences were upset with Aronofsky’s portrayal of the Almighty in Noah, just wait till they see what Exodus does. It’s not that God has been removed from the tale, it’s just that God has been mitigated in a way as to provide a rational throughline to follow the supernatural events of the ten plagues and so on. There’s even the possibility that Moses is just seeing things in his head. Two different characters advise Moses that being hit on the head could be the real source for his visions of God. Joshua (Aaron Paul) spies on Moses at several points arguing with God but sees no one else. The plagues are presented in a cause and effect series of misfortunes, with the Nile being turned red due to a surge of crocodiles munching on all the fish. The polluted water then causes the frogs to leave en mass, which then causes them to die and bring about waves of flies, which bring disease to sicken the livestock as well as boils for the Egyptians. Some thought went into this, however, it’s all inconsequential with the Angel of Death killing the first-born sons. There’s no real skeptical or scientific method to explain away this one, as the biblical story relates, and so the grounded approach seems misplaced. It takes away the miraculous from the miracles. And yet, even the parting of the Red Sea is given this same approach, with it resembling low tides brought about by perhaps a meteor strike. The fantastical nature of the Moses story feels handicapped by going a more realistic route. This is not the biblical epic for realism.
2) God is literally represented as a petulant child. When God does make Himself present for Moses, it’s in the form of a young child who is often mocking his servant. This is an angry often-bloodthirsty God who doesn’t appreciate being challenged. He complains how long Moses is taking with his war of attrition, and Moses says right back, “Impatient? You waited 400 years with ‘your people’ in slavery.” A fair complaint, and one that God does not answer.
3) Bad overall casting. Whitewashing isn’t exactly a new trend in Hollywood. It’s not like Charlton Heston looked particularly Middle Eastern. However, it’s rather distracting to watch a movie starring Egyptians and Middle Eastern Jews portrayed by a Welshman, an Australian, John Turturro, Sigoruney Weaver and Aaron Paul. I am a fan of each of these actors but they are just wrong for these parts. There are very little people of any color in the film despite the fact of its geographic location. Moses marries Zipporah, who several biblical scholars believe to be Ethiopian, which seems like a natural opportunity for some much-needed diversity in the cast. Just because you give Paul a bushy beard does not mean he suddenly resembles a Middle Eastern Jew. Same thing with adding eyeliner and bronzer to Edgerton. Then there’s the bizarre appearance of Scottish actor Ewen Bremner (The Rundown) as an adviser for the king. Taken as a whole, the whitewashing is a nagging distraction from a supposedly more grounded approach. To be fair, having relatively unknown (as far as the public is concerned) actors of appropriate ethnic background speaking in subtitled Hebrew and Egyptian sounds like a hard sell for a studio footing a $140 million dollar bill.
4) Lots of dead horses. This is not a friendly movie for our equine friends.
5) Moses sex. Well, sort of, because showing a husband and wife being physically intimate will still offend some of the more conservative ticket-buyers. So after Moses goes through his somewhat romantic question and answer ritual with his wife, the camera pans away from the disrobing couple and fades out. Classy. Now on to more CGI spectacle and carnage thank you very much.
I admire Noah more and more and think he successfully found a way to make a biblical epic accessible, challenging, and complex morally and psychologically without sparing the dark details. In essence he found a way to make a popular story new and interesting again. Scott’s Exodus just leaves me shrugging my shoulders. It’s by no means an appalling film. Beyond the big-budget modern-day spectacle, there isn’t enough going on in this movie to even justify all the expenses. The characters are too sketchy and given little to do, especially Ramses who pretty much just sneers and barks for 90 minutes. The costumes are fancy, the production design is lush, and all the technical elements are impeccable. It just falls woefully short on what should make you care. It feels like a product more than a film and a resonating story, and as such it’s delivered just in time for the Christmas shopping season for the masses. The film takes too long to get started and too long to conclude. It has some moments in the middle, especially when Moses is plotting his political insurrection, but as a whole Exodus is disappointingly lackluster. It ends up becoming empty and noisy CGI spectacle, with lots of yelling to compensate. It’s hard to find inspiration from the film when you’re checking your watch.
Nate’s Grade: C
With two movies, writer/director David O. Russell has vaulted to the top of Hollywood. Previously known for his own difficult behavior, Russell’s last two films, The Fighter and Silver Linings Playbook, were both critical and commercial hits (Silver Linings made over $230 million worldwide). Both brought a bushel of Oscar nominations as well, making Russell one of the hottest directors for actors and producers. But a new side seems to have emerged over these last two movies, one less of Russell the domineering director and one of Russell the open collaborator. It feels like he’s just hitting his stride too. American Hustle is Russell’s latest and it’s sharply written, engrossing, lively, surprisingly comic, and readily entertaining.
In the late 1970s, the FBI set up an undercover sting to nail political corruption, ultimately nabbing several U.S. congressmen and one standing U.S. Senator. Richie DiMaso (Bradley Cooper) is an FBI agent who snags the perfect assistance. To catch a crook you have to think like a crook, and so Richie has strong-armed a pair of lucrative con artists into helping him. Irving Rosenfeld (Christian Bale) is a professional down to his elaborate hairpiece. He’s used to fleecing desperate people and selling phony artwork to the gullible, but he’s been too shy about making too much noise. If you stay small, you go unnoticed. Irving’s partner in crime is Sydney Prosser (Amy Adams), a kindred spirit who has reinvented her self. She and Irving are in love, and now they’re trapped by Richie to set up New Jersey mayor Carmine Polito (Jeremy Renner). The one unpredictable element is Irving’s young wife, Rosalyn (Jennifer Lawrence), who could blow up the whole operation with her careless and self-involved tantrums.
Russell has once again given audiences one of the most entertaining films of the year, this time allowing them to participate vicariously in a con game, trying to anticipate the twists and turns and assessing everyone’s personal angle. This is a fictionalized rendition of the Abscam case (the opening text drolly says, “Some of this actually happened”) and it gives us a slew of meaty characters that have something going on. The central point elaborated in this pop crime caper is that we’re all cons, we’re all pretending, on some level, to be different people; Russell’s film just takes this notion to the extreme. Irving and Sydney are trying to escape lives of ordinary malaise, of being victims, of the more powerful dictating their options for them. With Sydney, she’s pretending to fall for Richie, but we don’t fully know which side she may choose to end up on. Richie is trying to also escape his dull life of desk jobs and lower middle-class dinners. His ambitions get hold of him, and with Irving’s aid, he catapults himself toward achieving those oversized dreams of his, never mind the ethical lapses in nabbing the bad guys. For Carmine, he’s so fiercely devoted to his community that you don’t doubt his loyalty for a second. He’s a man who sincerely wants to help others and is knowledgeable enough about how the world works, knowing he may have to grease some wheels to get the progress started. He is the most moral figure of the five main players and you may find yourself rooting for him to escape the snare closing in on him. Then there’s Rosalyn who has her hooks in Irving, looking for a sense of stability for her and her child. She’s a volatile cocktail of emotion but she knows what she needs to do to keep Irving anchored to her needs, though she’s also cognizant enough to latch onto a better provider if one materializes. Mixing and matching those characters, you have an eclectic mix of personalities clashing, many at odds with one another as far as goals, and the conflict stirred up is delicious.
Russell also attaches on his Martin Scorsese filter, delivering a freewheeling film about criminals from their wizened point of view, explaining the ins and outs of their hustle with flamboyance, style, and vigor. While the opening is a tad slow, including an opening minute watching Irving work his almost breathtaking comb over hairstyle, we plow right along into this world of hustlers and con men, learning tricks of their trade (hint: desperate people are desperate) and the tools to stay ahead of detection. We’re awash in multiple perspectives, each with voice over, a frenetic camera, and emboldened editing. It’s the Scorsese approach given studious application to the Abscam affair. It’s a great thing that Scorsese is the finest living filmmaker and devoting a two-hour-plus homage to the man’s most stylized crime pictures is a plus. Russell’s movie feels alive but also hungry, like many of his characters, restlessly searching for something. The scenes land but they don’t feel like they’re standing still; everything is propulsive in this movie. The small operation of Irving and Sydney is taken to the big leagues thanks to Richie’s ego, and the FBI’s desire for splashy headline busts, but wider exposure also exponentially multiplies the danger. Once the gambling scheme attracts the investment of the Mob, that’s when everyone has gone too far. I was clenching my fists in suspense toward the end, worried that our fictional cons may be too far in to survive.
Russell hasn’t lost his magic touch with actors. His last two films have netted seven acting Oscar nominations and three wins, and the cast of American Hustle meets that same level of excellence. Perhaps even more so than The Fighter, the characters are given a very broadly comic brush, easily and routinely stepping into a carnival row of over-the-top behavior. It provides plenty of entertainment of the mishap and absurd variety, but there are also lone piercing moments of great empathy with these messy people. Mostly, the various actors all seem to be in a great syncopation, each one contributing where the other left off, building a great and compelling picture. When this ensemble is firing, it’s hard to beat. Special mention to comedian Louis C.K. (TV’s Louie) making the most of every scene he’s in as an FBI party pooper. His running gag involving a personal ice-fishing story is one of the film’s best jokes.
Bale (Out of the Furnace) is our guiding voice in this world, a flimflam man of the first order who fools maybe even himself. He’s got his own code of ethics and a heart behind that pot belly (another physical transformative performance by Bale the chameleon). He’s briskly entertaining but my only complaint is that, by being so suave and slick, he seems a tad too low-key at points given the risk involved. I know it’s part of the act, but from an audience standpoint, it makes him seem a tad too modulated. His equal is Renner (The Bourne Legacy) who is so earnest that it practically breaks your heart when he oversteps into morally murky territory.
However, Bale’s performance is compensated by the sheer craziness of the Silver Linings co-stars, Cooper and Lawrence. Cooper (The Place Beyond the Pines) is a lawman but also the film’s biggest antagonist. He gets drunk with power and the credit he’s receiving at the FBI. He’s also a deeply insecure man who is trying to style himself like Irving and Sydney as a posh reinvention. Cooper gives him a manic energy and taps back into his reservoir of eager-to-please egotism. Lawrence (Catching Fire) is the most unpredictable character. She acts on impulse, flirts with sabotage, and soaks up the spotlight she’s so rarely afforded. Lawrence is having the time of her life playing a loud, shrewish, vampy housewife who has a noticeable habit of starting house fires.
Beforehand, I would have thought that Lawrence and Adams should have swapped roles (still an interesting experiment), but having now seen the film, each suits them well. Adams (Man of Steel) is the saddest character of them all to me because she’s the bruised dreamer anxious to be anyone but who she really was. She relishes the con, more so than Irving, and ties much of her self-identity to her shyster skills. But two aspects of Adams’ performance especially surprised me: 1) she speaks with a fake British accent for nearly the whole movie, and 2) the copious amount of side boob on display. As per the 1970s fashions, Adams takes full advantage of the plunging necklines, giving her fans a lot to observe from scene to scene, and not just her formidable acting talent on display.
I’ve been dragging my feet writing my review and I’ve been trying to determine why, beyond, obviously, holiday-related sloth. American Hustle is readily a good movie that provides plenty of entertainment, meaty characters, and fun, but why do I keep feeling like it’s missing one undetermined ingredient? I can’t even articulate what at the moment but after having seen the film two times now, I feel like perhaps my emotional involvement was stunted. It’s a finely tuned script that delivers big performances for big-time actors, with a dandy ending that manages to dish out satisfying conclusions to its bevy of wheeler-dealers. But why didn’t I care more, why didn’t I feel more resonance by the time the end credits landed? The best theory I can surmise at this time is that we’re caught up in the con game, where everyone is pretending to be somebody else out of necessity or desire, that when it’s all over, we reflect on what a fun ride it’s been with fun characters but do we feel like we’ve gotten anywhere? I feel like I was more interested in the characters than attached to them. Again, American Hustle is still a sensationally entertaining movie and this paragraph is but a quibble, but it’s enough to thwart me from fully embracing and celebrating Russell’s film (confession: having already seen Scorsese’s brilliant Wolf of Wall Street, this could be coloring things for me with Russell’s Scorsese homage).
American Hustle is a fun ride with arresting performances, oodles of style, energy, and comedy. It’s a crime caper of the first order, easing you into this world and watching people play all sides. Even better, we’re given a volatile mix of personalities that clash, forming new and lasting conflicts, some of which could endanger the entire operation. These are interesting people to spend time with and so we can excuse the indulgences of a 140-minute movie that offers even more with this fantastic cast. Russell with a Scorsese filter is an even more improbably entertaining filmmaker. This is a crowd-pleasing sort of movie, much like Silver Linings, that doles out punchlines and payoffs with aplomb. It’s easy to go along for the ride, laugh uproariously, and then by the end sort of wonder whether it was all worth it. The emotional detachment to the characters may be a minor complaint for a film this largely satisfying, but since we’re spending so much time on our characters, I think I would have preferred something a tad more substantive by the end. It’s a great ride, with great characters and great humor, but there is a nagging concern that it may have been a better ride than a story. Regardless, American Hustle is an enjoyably alluring con that mines the absurdist fashions, personalities, and political overreach of the 1970s, painting a tale of criminals who may be the real heroes of the American dream.
Nate’s Grade: A-
The last time writer/director Scott Cooper looked at a rural, low-income, hand-to-mouth existence, he helped lead Jeff Bridges to Oscar gold with Crazy Heart. It would make sense then for Cooper’s follow-up, Out of the Furnace, to populate those same hills. It also makes sense why actors would flock to Cooper’s next project. It’s a film that strives to be a little of everything, a slow burn and artful revenge thriller, but ultimately will please few, the actors wasted here included.
In rural Pennsylvania, Russell Baze (Christian Bale) is a diligent steelworker who always has to be on the lookout for his younger brother, Rodney (Casey Affleck). Prone to impulsive decisions, Rodney routinely finds himself in debt to bad people. The situation magnifies when Russell is sent to prison for a few years due to a fatal car accident he was responsible for. When he leaves the penitentiary, life has only gotten worse. Russell’s ailing father passed away while he was locked up. His girlfriend, Lena (Zoe Saldana), has moved on with police chief Wesley Barnes (Forest Whitaker). Most distressing, Rodney has gone through four tours of Iraq and is deeply troubled. He’s fallen into old habits and gotten involved in an underground bare-knuckle fighting ring run by the ferocious Harlan DeGroat (Woody Harrelson). Rodney runs afoul of Harlan and disappears, and Russell goes on the warpath for vengeance.
The problem is that Out of the Furnace doesn’t do enough to separate itself from the pack. We get little insight into the hard lives of these men. Both brothers are haunted by guilt and trauma, squeezed by few economic opportunities, and feeling like life itself is trapping them in corners. However, their path is already predetermined. Russell is destined to stay on the narrow path of responsibility, suffering slings and arrows, but striving to do the right thing. We see this time and again. And Rodney is destined to make poor decisions, desperately getting in over his head and reaching out to all the wrong people. We see this time and again. Each part is solidly locked in, and so we wait because we know their exact trajectory. We know something bad will happen to Rodney and we know Russell will be driven to seek justice his own way. Likewise, Harlan is a scary psycho without complexity. He’s just a drug-addled, violent, scary dude, but he’s so one-note. Lena, once she briefly reunites with Russell, is completely absent in the film, as if her unrequited position is all she serves for our purposes. Cooper displayed a terrific ear for lived-in characters with Crazy Heart, and the details of this world feel honest, it’s just that there aren’t enough of them. The storyline is engraved with little variation, and Cooper doesn’t take full advantage of his great cast, relying upon familiar scenes and elements to establish his loosely drawn characters. We’ve seen these burnouts and lowlifes and dignified blue-collar workers all before. This is a film that wants to be challenging but too often seems to take the easy road.
The very plot structure also seems amiss. As stated above, the journey seems set in stone, so then when something bad does happen to Rodney, it feels overdue. Rodney doesn’t meet his ultimate bind until halfway through Act II, and then when the plot shifts to vengeance, it becomes an uncomplicated straight line. And a streamlined plot with little variation or surprise, with characters that are customary, can get boring. Once Russell is on the warpath, there is little complications or obstacles, or even moments to contemplate the full extent of his actions. And then the movie is done. Because the final act plays out exactly as you anticipate, the movie leaves you feeling anticlimactic. The payoff is unsatisfying. Plot reorganization would have benefited the Russell vs. Harlan storyline. Rather than draw out Rodney’s ultimate screw-up, which everyone is just waiting for from minute one, why not have his screw-up be the Act I break, coming around the half-hour mark rather than more than an hour into the film? That sets the story forward and provides enough space for Russell to work upwards toward Harlan as well as examine what kind of man he is becoming. As it plays out, Harlan is crazy but also easy to access despite the threats of what the rural hill people will do to visitors. If a revenge story was the method that was going to test Russell’s character and redemption, then we needed to get to this crossroads sooner, especially since everyone is waiting for it to happen.
The power of the acting goes a decent way to compensate for the film’s unresolved investment. Bale (The Dark Knight Rises) internalizes most of his character’s emotions, always trying to hold back a swell of anger and guilt, to just keep going one day at a time. He delivers another strong performance as a man struggling to do the right thing. In this day and age, even a passable Bale performance is going to be above average. Affleck (Ain’t Them Bodies Saints) is a go-to actor when you have a desperate character that is clearly outmatched. His volatile performance is laced with sadness, as you understand how cursed Rodney feels, how the universe hands him bad break after bad break. Affleck tinges his hopelessness with a resigned weariness, as if he’s just seeking a final release. Harrelson (Now You See Me) stews villainously, erupting with extreme violence. He’s a scary guide helped by Harrelson’s flicker of madness he imbues the character with. It’s too bad he doesn’t do anything memorable outside the opening minute. Whitaker (Lee Dainels’ The Butler) probably gets the worst of it, and I think he knows it, which is why the actor adopts a gravely speaking voice that sounds like he has a frog in his throat. Beyond the fact that he’s linked with Russell’s old flame, there isn’t anything important to mention about the character, nor is there anything for Whitaker to do other than make limp threats about letting the police focus on Harlan.
Out of the Furnace is one of those movies that gets details right but loses sense of the big picture. Its blue collar, working class characters are given the right clothes, posture, look, but they’re not given enough material to breathe as characters. The people in this movie end up becoming dispensable parts of the background, serving their strict plot purposes and then dissolving again, lacking complexity and personality. The characters aren’t strong enough for this to be character-driven; the plot isn’t given sufficient structure for this to be a searching moral exploration; the pacing and direction don’t provide enough thrills for the film to work as a revenge thriller. And so Out of the Furnace, while not being a bad film, falls short of truly working as a character study, as a moral examination, as a traditional pulpy revenge thriller. It’s got a great cast and some wonderful production values that convey the weight of low income America, but the movie just lacks an engaging story to justify the talent in use. A few more revisions would have helped, but Out of the Furnace ultimately comes up short because it lacks any sort of lasting heat.
Nate’s Grade: C+
Let’s be honest, The Dark Knight Rises movie was never going to meet fan expectations after the high-water mark between superhero movie and crafty crime thriller that was the pop-art masterpiece, The Dark Knight. Whatever director/co-writer Christopher Nolan put together was fated not to match the pulpy big blockbuster alchemy that he worked so well in 2008. Minus Heath Ledger’s instantly iconic performance, a role that set the film on fire whenever he was onscreen, there is going to be a certain void to this capper to the trilogy. Now having seen the movie twice, including once in sphincter-rattling IMAX, I feel that I can truthfully state the most obvious: The Dark Knight Rises is not as good as the previous movies. While a fine finale for an ambitious series, this is definitely the weakest movie of the trilogy.
It’s been eight years since Gotham City last saw the likes of Batman. Bruce Wayne (Christian Bale) is an older man, hobbled by age, and living as a recluse in his mansion. His trusted friend and butler Alfred (Michael Caine) keeps encouraging Bruce to seek a life outside that of Batman. In those eight years, Gotham’s police have cracked down on organized crime thanks to the Dent Act, a law named after the late district attorney Harvey Dent (a fallen idol that only a handful know the real truth about). Commissioner Gordon (Gary Oldman) is growing sick with the secret of Harvey Dent and looks to retire from the force. Miranda Tate (Marion Cotillard) is a businesswoman eager to restart Wayne’s clean energy project, and a woman interesting in getting Bruce back on his feet. There’s also Selina Kyle (Anne Hathaway), a.k.a. Catwoman, a master thief who gives Bruce a new challenge. But then along comes Bane (Tom Hardy), a master terrorist and figure of brute strength. His goal is to fulfill the League of Shadows’ plan and destroy Gotham City and expose its rampant corruption. He sidelines Batman and takes over the city, unleashing criminals and hordes of the downtrodden upon the wealthy. There is no escape from Bane’s plan, his wrath, but Bruce Wayne must rise to the occasion and be ready to sacrifice the last of himself for the people of Gotham.
Firstly, Bane is no Joker. The bad guy lacks the fiendish charisma of Ledger’s Joker and he’s not as well integrated thematically into the movie. The Joker was an anarchist that wanted to tear down the pretensions of society and watch people “eat each other.” And we watched a city come unglued. We explore the notion of escalation and what the blowback would be for a man fighting crime in a costume. With Dark Knight Rises, Bane wants to take up the mantle of Ra’s Al Ghul (Liam Neeson) and wipe Gotham off the map. He’s got moments of being a master planner but really he’s just a big heavy. He’s the big tough guy that beats up old man Bruce Wayne, and Bane is continuously diminished in the film as it goes. A late revelation with the character completely diminishes his role and turns him into the equivalent of a mean junkyard dog. His big plan is simply to rile up the masses and wait for the inevitable. Hardy (Bronson) is a great actor prone to mesmerizing performances. This isn’t one of them. He’s super beefy but the facial mask, looking like some sea urchin, obscures half his face. It’s all physicality and eyes for his performance, along with very amped-up dialogue that you can tell was rerecorded after filming. Every time Bane speaks it’s like he has a speaker system installed in his face. And then there’s the matter of his sticky accent, which to me sounds like German mad scientist but to my friends sounded like drunken Sean Connery.
Bane keeps espousing about the corruption of Gotham but you really never get a strong sense of what that corruption has lead to. Catwoman talks about the Gotham elites living large while the rest of the city struggles; but rarely do you get a sense of this. So when Bane flips the tables, and the elite and wealthy are stripped of their decadence and put on trial by mobs, it feels improperly set up. Just because you have characters talk about wealth disparity and the city’s corrupting influence doesn’t mean it’s been established. Nolan’s Batman movies are a reflection of our modern-day anxieties in a post-9/11 world, so I wasn’t surprised to see a society rotting away from the sociopathic greed and wanton excess of the 1%. But rather than serve up a wealth disparity parable of class conflict, the movie simply turns to mob rule, a far less nuanced and interesting dissection of current events and fears. It’s like the French revolution took a trip to Gotham City (Gordon even quotes from A Tale of Two Cities). It’s a society built upon a central lie, the idol of Harvey Dent, but the movie fails to make the corruption felt. In the end, this is all pretty weak social allegory. And would it have killed Bane to be a little more brutal to stock exchange short-sellers?
Then there’s the typical Nolan origami plot with the myriad of subplots intersecting. This is the first time in the series where the plots felt poorly developed. Rewatch Batman Begins or The Dark Knight, as I recently did, and you’ll see there is not an ounce of fat in those movies, not one wasted scene or one wasted line. Sure they got secret super ninjas and Katie Holmes, but those movies were well built blockbusters. I could have done without Bane entirely and certainly would have loved more of Catwoman. Hathaway (Alice in Wonderland) is terrific in the antihero role and brings a very interesting dynamic relationship with Batman. She may be the only person who understands him. I wanted more Catwoman, the movie needed more Catwoman, but alas she is just a plot device to connect Wayne to Bane. She has a larger role in the concluding melee but essentially becomes Batman’s reluctant wingman. The whole theme of the 99% vs. the 1% could have been generously explored with this character, and her spark and charisma would certainly be enough to get Bruce Wayne out of bed again. Then there’s the regular cop (Joseph Gordon-Levitt) doing the unheralded good deeds that so easily get overlooked. Here is an interesting character that, due to some leaps in logic, connects with Bruce Wayne on a unique level. He presents a counterbalance to all the souped-up superheroes, a recognizably regular human trying to do good. It’s then a shame that he gets entirely relegated during the third act so that the superheroes and their super toys can make some noise.
For a Batman movie there’s hardly any Batman in it. The caped crusader has been in retirement for eight years, so it takes some time before Bruce puts the suit back on. But then he’s also sidelined for a good third of the movie, stowed away in a far-off prison. The entire Indian prison sequence really could have been exorcised. It essentially becomes a Rocky training moment for Bruce Wayne to recover and a plot device to explain why there needs to be a time gap in the story. But this part of the movie just feels like it goes on forever, and we all know where it will go so we just keep waiting for the movie to get there. No one wants a Batman movie where Batman sits the middle out. The end feels relatively fitting but any fan of The Iron Giant will recognize some similar key elements.
And while I’m on the subject, let me do some estimates here. The timeline between Batman Begins and The Dark Knight is about a year, as the Joker notes to a congregation of mobsters. I’ll be generous and say that the events of The Dark Knight last two months. We learn that Batman never appeared again after the death of Harvey Dent, and now we flash to eight years later with The Dark Knight Rises. So you’re telling me that we only really got a solid year of Batman being Batman? That over the course of nine years he was Batman for only one of them? That’s very little Batman-ing for a Batman franchise.
But even with these flaws in tow, The Dark Knight Rises is still an exciting, stimulating, and mostly satisfying close to a trilogy of unprecedented ambition and scope for a modern blockbuster. The action sequences in this movie are huge and exhilarating. I loved Bane turning Batman’s armada of weapons against him. The Bat fighter plane is a nice addition that gets plenty of solid screen time. The sheer scope of what Nolan produces is epic; from a plane being hijacked in mid-flight and torn apart, to a city being leveled by explosives, to a face-off between a bevy of armored Batmobiles and the Bat plane through the streets of Gotham, the movie does not disappoint when it comes to explosive, large-scale action set pieces. This is also the first Batman movie where the climax is the best part of the film. The last half hour is solid action but also a fitting sendoff for a beloved character. Some will grumble with certain hat-tipping moments at the end, but I found it entirely satisfying. It all comes back to the central thesis of Nolan’s Batman films about becoming something more than just a man, becoming a symbol, and that symbol is meant to inspire others. By the end, you feel that the inspiration has been earned as so has our conclusion.
I want to single out Caine (Harry Brown) who has very few scenes but absolutely kills them. He’s the emotional core of the movie, perhaps even the series, and has always been hoping that his charge, Bruce Wayne, would never return to Gotham. He’s the voice of reason in the movie, the man that reminds Bruce about the costs of a life spent seeking vengeance and sacrificing his body. I wish Caine was in the movie longer but his scenes are pivotal to the plot, as is his absence.
The Dark Knight Rises doesn’t rise to the level of artistic excellence of its predecessors, but it’s certainly a strong summer blockbuster that works as an agreeable finale to the premier franchise of the era. It’s not quite the knockout we were expecting from Nolan but it still delivers where it counts. I wish it had give a fuller, richer portrait of a city corrupt from the inside out, a society rotting away and ready for revolution, and plus I also wish we had plenty more Catwoman and plenty more shots of Anne Hathaway in her Catwoman cat suit (Michelle Pfeiffer still has nothing to fear), but these are the things of dreams. Nolan’s aim has always been to place Batman in a world that is recognizably our own, and with that comes the responsibility of bringing a stolid sense of realism with all the blockbuster pyrotechnics. This artistic ethos has given us some extraordinary movies, though some Batman purists would object that Nolan’s hyper-realism is not the Batman they grew up with. It’s hard to really get a sense of the accomplishments that Nolan and his team has been able to pull off over the course of three bladder-unfriendly movies and seven years. He’s taken the superhero movie and redefined it, brought it unparalleled psychological depth and philosophical analysis, and given a human quality to what normally gets dismissed as escapism. The Dark Knight Rises isn’t as revelatory as its previous entry but it sticks the landing and puts to rest what is indisputably the greatest superhero trilogy of all time.
Now get ready for the reboot in three years.
Nate’s Grade: B
Somewhere along the line, the boxing film became the perfect metaphor for the underdog story. Two men at battle with only their fists and iron wills. Somehow this match up has come to symbolize man’s eternal struggle against himself and society. From Body and Soul to Rocky and Raging Bull, it’s hard to imagine the filmic landscape without the tropes of boxing. It’s also a pretty staid and tired genre, where filmmakers often rely on those tropes to fill in the gaps for lazy storytelling. The Fighter is a true story that star Mark Wahlberg has been nursing for years trying to get it off the ground. It’s the knockout acting and attention to character that separates The Fighter from the competition. Rarely has such a sedate formula felt so freshly presented.
In the mid 1990s, Mickey Ward (Wahlberg) is a man trying to come to grips with his life. His welterweight boxing career has stalled thanks primarily to his trainer, his unreliable half-brother Dicky Eklund (Christian Bale). Big brother used to be the pride of Lowell, Massachusetts, once fighting Sugar Ray Leonard and boasting about knocking the giant down (this claim is in dispute as replays show that Leonard may have simply tripped). Dicky’s boxing career went away about the same time that Dicky became addicted to crack cocaine, spending long hours inside Lowell’s many crack houses. An HBO documentary crew is following around Dicky, which he mistakenly believes is a ticket to his comeback. Mickey’s mother, Alice (Melissa Leo), also serves as manager to both her boys. Dicky is clearly the apple of her eye and Alice enables his destructive behavior. Mickey is pushed into fights to feed his extended family (eight siblings), and the thrill is gone. Then one day he’s approached by a promoter who will give Mickey one more chance. The only catch is that Mickey has to cut his family loose.
Truth be told, The Fighter isn’t really much of a boxing movie. Sure that’s the selling point and it allows for a rousing, crowd-pleasing finish, but Mickey could just as easily be striving to open a deli or striving to go back to school. The real story is the family. The boxing is only a backdrop, and if it weren’t for the true-story basis I would say it serves as little more than a metaphor for the punishment Mickey has taken in life. The Fighter is about a man working up the courage not to step into the boxing ring but to break away from his self-destructive family weighing him down in misery. This is a dysfunctional family drama disguised as a Rocky-style boxing redemption picture. The boxing aspects are small, mostly contained to the final act as Mickey’s career finally begins to gain some traction. For some, this will be disappointing news. But for me, I loved the family drama stuff. This is a fractured family with deep lines of division, nursing grudges, resentment waiting to boil over, all the marks of meaty drama. The focus is on Mickey trying to break away from the pull of his harmful older half-brother and his boorish mother. His mother enables Dicky, her favorite child, to the detriment of the rest of her brood. Her relationship with Dicky is fascinating and complicated, like a mother sacrificing the rest of her clan to help her most damaged child. You can catch some of the invisible ripples from these decisions, like the seven sisters all forming one unified hive-mind to survive. They’re like a block of cheerleaders for mother, only able to get attention and some form of affection by doing so. The extensive family unit revolves around Leo’s matriarch, fiercely protective and fiercely myopic. She refuses to remove herself from Mickey’s management team, and thus Mickey and his career suffer. It’s downright Oedipal. If only he can escape the clutches of his family, perhaps Mickey can taste success that has eluded him so long. The family drama makes up a good majority of The Fighter, and that’s just fine with me when I get characters this damaged and complicated.
And all of this is blissfully entertaining. Director David O. Russell is miles away from his other films like Three Kings and I Heart Huckabees. This is different kind of redemption story where the main guy winning a title is nice, and we can all celebrate, but it’s really his separation from a harsh family dragging him down. The film also produces an engaging romance for Mickey, which gives him a renewed sense of purpose to finally break free of his family. Amy Adams (Enchanted, Doubt) is a bartender at a local hangout with some college under her belt, a point that irritates Mickey’s family. The Eklund sisters lash out at Mickey’s squeeze in childish ways. Adams, playing Charlene, shies away from the daffy or genteel roles of her past. She gets to spit profanities with glee. Her relationship with Mickey serves as a foil to his family, showing what strength a positive, healthy relationship can achieve. But while the family is presented in an antagonistic sense, they are not blithely demonized. Russell and his team of writers and actors use humor to find surprising pockets of warmth amidst all the darkness and shattered dreams. This isn’t an addiction story that plumbs the depths of human weakness. The production feels bathed in authenticity and the city of Lowell, Massachusetts and its lived-in, blue-collar culture feels like another vital character. When the HBO documentary finally airs, you feel the cloud of hurt that covers the entire town in shame. Nobody wants to be known as a town famous for crack addiction (you can watch the 1995 doc online for free).
The acting is also some of the best you’ll see all year. Wahlberg is a sturdy center, used to the abuse and underplaying his character’s transformation from punching bag to assertive human being. This is Wahlberg’s home turf, and he’s been shopping the story for years in Hollywood, so it’s no surprise that everything comes so natural for the Beantown kid. But his understated work is going to get obscured with the flamboyant performances from both Bale and Leo. Bale (The Dark Knight, Rescue Dawn) has long been considered one of the finest actors of his generation, his Method devotion and versatility a godsend. In The Fighter, he’s a live wire, a bundle of energy in a haunting skeletal frame. He’s a figure of lost promise, of tragedy and bruised ego, trying to live vicariously through his younger brother. He’s deluded himself into thinking that this HBO documentary will launch a comeback at 40. Bale excels with the bombastic bits, practically bouncing off the walls, but then he nails the quieter, smaller moments of his character, where Dicky realizes that he’s wasted his gifts. Leo (Frozen River) could easily fall into an outsized monster of large hair and nicotine-stained fingers, but the Oscar-nominated actress finds exciting ways to tap into her character’s humanity. She fully knows that her beloved child is a crack addict, but watching her rationalize and justify her actions is exciting.
The Fighter is a meaty family drama, stirring tale of redemption, and a showcase of superior acting. In an awards season where it feels like many films are missing some secret ingredient, The Fighter has it all together. It’s an underdog story of a different flavor that manages to be authentic, entertaining, charitable, and engrossing even while staying within the boundaries of a predictable framework. We all know that Mickey will triumph in the ring; otherwise his tale would never have caught the notice of Hollywood producers. This is a fresh take on old material. The focus is on the fractured family dynamic and the many characters, not on a simplistic rising through the rankings of sport. It’s because of the tremendous acting and character work that the first half of the film easily outshines the second. Once the family is sidelined, and Mickey’s boxing career takes off, The Fighter turns into a more conventional genre picture, though still engaging. The movie ends on a satisfying note of uplift that feels fully earned without a twinge of naiveté. This Oscar season, expect audiences and voters alike to find something to cheer about in this return to the ring.
Nate’s Grade: A-
The fourth Terminator movie ultimately comes across as a lifeless enterprise. It’s set during the war between man and machine, which means John Conner (Christian Bale) is leading the human resistance, as was prophesied. He must stop those crafty machines from finding and killing Kyle Reese (Anton Yelchin), who is destined to be sent back in time and become Conner’s father. The storyline focuses a lot more attention on the mysterious man Marcus (Sam Worthington), who isn’t so mysterious because they give away in minutes that he’s a machine. But he’s a thinking machine that reclaims his humanity, or whatever. The point of this movie is to make some cool action sequences and not step on the toes of the previous movies. Director McG (Charlie’s Angels) has a few nifty visual tricks up his sleeve, but this is one soulless machine just going through the Action Blockbuster subroutine. The character development is nil, the story is muddled, the machines are dumb, and Bale forgoes any normal kind of speaking voice in favor of growls and hissing. The throwbacks to the other movies can be fun (a 1984-aged Arnold!) or agonizingly lame (shoehorning in famous quotes like, “I’ll be back”). The movie is competent and has one or two exciting chase sequences, but that is simply not good enough coming from this storied action franchise. Terminator Salvation plays out more like Transformers, where the robots are big and bad and loud and sort of dumb. I guess that sums up the movie pretty well.
Nate’s Grade: C+
Considering the talent in front of and behind the camera, it’s hard not to describe Public Enemies as anything but a letdown. This Depression-era gangster film is heavy on period details and very tight-fisted when it comes to characterization. You’d think given 140 minutes and the natural charisma of Johnny Depp that an audience would come to some kind of understanding with notorious bank robber John Dillinger. Nope. The characters remain perfunctory the entire time, pushed into conflicts by a brisk pace that manages to squeeze in three bank robberies, two prison breaks, and many police shootouts. Because the movie barely takes time to breathe, the love story between Dillinger and Billie Frechette (Oscar-winner Marion Cotillard, a dead ringer for pop singer Katy Perry) is never credible, the tension never feels palpable, and director Michael Mann (Heat, Collateral) seems overly smitten with his distracting high def digital photography. You never really feel any sense of danger or interest. The characters on screen feel like strangers even after 140 minutes. Depp makes the movie more tolerable than it would be without his presence. Mann, one of three credited screenwriters, seems to assume the audience is well versed in Dillinger history and so he skips over plenty of fertile territory. Public Enemies certainly hums with plenty of polish but it comes across as mostly mundane due to such flimsy character work. It’s a collection of good scenes that fail to make up a satisfying whole.
Nate’s Grade: B-