AMERICAN HUSTLE Review

From its inception a lot was expected of American Hustle, or "American Bullshit" as it was once called, director David O. Russell’s follow up to his Oscar-nominated Silver Linings Playbook that put an actor in every major category and was even able to take one of those home. The key element of Russell’s films since re-certifying himself as a force to be reckoned with was the frenetic energy with which they carried themselves and while his latest is no different this time around it feels like there was nowhere specific to focus this energy and so it gets sprawled across a multitude of characters and a convoluted plot that concerns itself with con artists, IRS agents, mobsters and politicians. It seems unfair that with the good will Russell garnered not only with Silver Linings, but also with The Fighter that he immediately be expected to deliver more great cinema simply because he is working in the same time period and has recruited the same group of actors from each film to make up a stellar cast because it almost seems it would be impossible to deliver. The problem is, expectations were set so high that critics and cinephiles automatically assumed it was going to be quality movie-going and so they have seemingly lapped up this picture to be what they wanted it to be rather than taking it for what it actually is: a solid piece of Scorsese tribute with a cast that transcends the messy script. It is hard to say whether this would have come off as a better film without the expectation or if the expectation indeed helps it appear more impressive considering that is what we expected. Either way, I was never particularly excited about the film as I wasn’t familiar with the events that inspired it, but more I was excited to see what Russell would do with his impressive cast and his old school setting. I really enjoyed Silver Linings and I absolutely adored The Fighter for being able to take a stock story and make it more than that, with performances that never failed and lifted the material above the standard and maybe I, too, was hoping for that to happen here. I simply found it hard to really dig into the film as it never pulled me in and kept me there the way those last two efforts have. And that may be a problem as well, both that we expected American Hustle to be of the same quality and to do many of the same things to our senses that those two films elicited, but this is a different film altogether and to take it on those terms alone would be to realize by no means is this a bad film, it also isn’t one of the best things I’ve seen this year.

LAST VEGAS Review

Sometimes I have to ask myself what makes some of the more prestigious films that have already begun the awards season onslaught that much better than the mainstream fluff that comes out the rest of the year and have just as much potential to deliver satisfactory film-going experiences, if not more enjoyable ones. These Oscar-bait films that studios reserve for the final two months of the year yearn to be important, thought-provoking, and of course have a level of class to them that lesser, studio fare made more for profit than art could even imagine. Still, there is a comfort food feeling that comes along with much of the big studio fare that comes out around the holiday season and older audience members, families, and unknowing theater-goers are looking for just that kind of thing; something to be entertained by for an hour and a half, a quick escape from the real world that might offer fun conversation later or something that may allow them common ground or a nice suggestion. Last Vegas no doubt looks to fill that type of quota this fall as it has every single aspect these types of general audience members are looking for. First and foremost it has the star power, employing four highly recognized and well-respected actors that together will have no problem bringing in a wide range of people and second it is playing off the well-received first (if not now played out by its two sequels) Hangover film, but with the older generation so that we can lean on the crutch of laughing at senior citizens doing inappropriate things while any extra comedy might come purely from the chemistry between the four leads. This is essentially Red, but for comedy rather than action flicks and to a degree that is fine because ultimately this is pretty harmless, fun stuff and that both were able to nab Morgan Freeman has to mean there is at least something worth taking a look at here even if the results are more minor than substantial.

THE FAMILY Review

There is something oddly sweet to a black comedy like The Family. Even though labeling it as a "comedy" doesn't feel right though as this is clearly just trying to be what it is and nothing more. In many ways this is a movie that is very much in love with itself and the genre it so desires to be a part of. It is a love letter from writer/director Luc Besson (The Fifth Element) who seems to have always wanted to make an American gangster film, but could never find the twist he would like to put on his own story until now. As this is executive produced by Martin Scorsese and stars a myriad of familiar faces in the mob genre you can see how Besson might have accomplished his goal. On the other hand it is with extreme caution we approach an off hand Robert DeNiro comedy these days as he's appeared in countless studio projects over the past few years that have looked to be little more than nice paydays. This ultimately seemed to be the most offensive though, not only because he was tarnishing his legacy by starring in another forgettable movie that would no doubt be seen by few people, but because he was now tarnishing the legacy with a rip off of the kind of movies that gave him said legacy. Fortunately, this is not the case for as much as The Family is in love with itself it is also a sincere tribute to mob movies and the way they function. It places DeNiro at the head of the table because it wants you to be reminded of James Conway and Sam "Ace" Rothstein and has Michelle Pfeiffer at his side because of 1988's Married to the Mob and even Scarface. These are not perfect examples of type casting in the casual sense, but they are intentional casting because they are both recognizable to general movie audiences and function as a nice nod to past work as well as a nice inside joke for cinephiles. I wouldn't say all of this without the confirmation of a single scene that takes place in the latter half of the film that is brilliantly executed and downright hilarious to watch unfold. I won't give any more away than that, but will say it's worth the price of admission alone though I doubt you'd be disappointed in the rest of the movie either because it's actually pretty damn fun.

First Trailer for GRUDGE MATCH

Grudge Match is going to be big. I can feel it. Hopefully you won't be calling me out on that prediction in a few months, but after seeing the trailer, the release date and who all is anchoring this safe yet warm-hearted comedy I can only see there being one outcome for the flick and that is for it to blow up at the box office and become a huge financial success while being critically dismissed but not trashed. Anyone remember Wild Hogs from a few years ago? It was a half-assed effort that threw some big names together and played on their chemistry while raking in a ton of moolah in return. This looks to do the same kind of thing as the film is clearly more interested in playing off the legacy of its two stars rather than creating something new and original. Honestly, there isn't anything really wrong with that. In fact, DeNiro might get his second hit of the fall season doing exactly that as a month earlier he'll partake in a Hangover-style comedy that partners him with other veteran and well-respected actors behaving badly with Last Vegas. Directed by the king of light, family-friendly comedies Peter Segal (The Longest Yard, Get Smart) the film follows the much hyped rivalry between Rocky Balboa and Jake La Motta (not really, but c'mon...who are they kidding?) as they come back into the lime light after a video of them fighting in motion capture suits while filming footage for a boxing video game goes viral. The re-match is naturally scheduled as it never came to fruition in their prime and the film will no doubt follow the ins-and-outs of them preparing for this one last fight. The bright side is each of them have a funny guy in their corner in the form of Alan Arkin and Kevin Hart who, if nothing, else, will make this a pretty funny affair. Grudge Match also stars Jon Bernthal, Kim Basinger, Camden Grey and opens on Christmas Day. Hit the jump to check out the first trailer now.

SILVER LININGS PLAYBOOK Review

I am a late comer to the Silver Linings Playbook party, but nonetheless I am happy to be here. I have always been anxious to see how this film turned out since first hearing the rumblings and seeing a few set photos. I even listed it in my honorable mentions section for the films I most anticipated for the fall of 2012 before the Toronto International Film Festival and before all of the positive reviews came rolling in. Though it is a David O. Russell film and that fact alone is enough to interest me after The Fighter, it also has an extremely appealing and surprising cast. It is not the typical type of film you see being lauded with praise and nominated for awards, but I'm glad it is. Silver Linings Playbook falls somewhere into the conventions of a Hollywood romantic comedy yet is the antithesis of these types of films at the same time. It takes everything you know and expect from that type of film and turns it on its head. It is a movie that makes you feel as if someone who watched one too many of the contrived rom-coms called their bluff and developed a sincere film with real people, layered characters and situations that we might be more inclined not just to believe, but to trust with a story so ultimately lovely and life affirming. It is, on one hand, a gritty drama that looks at what happens after a life changing event and on the other a true to life comedy that captures all the right moments with the perfect tone. I went into the film with high expectations, of course, but more importantly I think it was the high hopes I held that were more satisfied as I looked upon the final, comforting shot. It is not the most unconventional of stories, but it is a story of characters and how they genuinely make it day to day. A heartwarming tale that doesn't feel manipulating, but rather like the story of the neighbors down the street.