The Mule

Tags

2010's, Alison Eastwood, Andy Garcia, Based on a true story, Bradley Cooper, Clint Eastwood, Crime, Dianne Wiest, Drama, Laurence Fishburne, Michael Peña, Taissa Farmiga, The Mule

Director

Clint Eastwood

Starring

• Clint Eastwood as Earl Stone
• Dianne Wiest as Mary
• Bradley Cooper as Colin Bates
• Michael Peña as Trevino
• Laurence Fishburne as Head of DEA
• Taissa Farmiga as Ginny
• Alison Eastwood as Iris
• Andy Garcia as Laton

Clint Eastwood directs and steps in front of the camera once more with The Mule, which takes basis from a true story of an elderly man who was an unlikely drugs mule for a cartel. With it being Eastwood there is undoubtedly talent here and good spots. The trouble is The Mule stumbles in the mid section and I can’t help but feel it could have been better than it was.

Earl Stone is a 90-year-old horticulturist who has seen better days. He’s become bitter and out of sync with society. His business is approaching foreclosure and after being so neglectful of his family, most of them have shunned him and his wife Mary has divorced him. His granddaughter Ginny hasn’t turned her back on him and invites him to her engagement party. It’s at the party that someone gives Earl a tip-off of a job where all he needs to do is drive. Desperate, Earl accepts, little realising that he’s becoming a drugs mule. Even when he does discover what he’s transporting, he asks no questions as he is so in need of the cash. With the money he gets from each job, he tries to make amends with people he’s wronged in the past and attempts to build more bridges with his estranged family. This goes very well and his efficiency in the job earns him some respect in the cartel community, particularly the head honcho. But the DEA is trying to crack down on drug smuggling and a transportation in Illinois and as headed by the purposeful Colin Bates, they aren’t going to stop until they reach the source of the illegal acts. Earl keeps going with the job, slowly coming to see the darkness he has put himself in. Yet as the DEA closes in and the cartel start to fight amongst each other, Earl is stuck firmly in the middle of what could be a very dangerous situation.

Clint Eastwood brings his usual professional sheen to the film and focuses on characters, primarily Earl. Character development of the titular mule is what this film does well. I especially though there was poignancy to the fact that Earl feels so out-of-place in a technical, modern world that he doesn’t understand. That was one thing that came through loud and clear when watching The Mule. Not all of Eastwood’s decision behind the camera pay off, for starters the film runs too long and falters in the middle part. But his sophistication and handling of the main narrative is excellent and provides at least some emotional tie. If anything’s to blame for The Mule not being an overall excellent movie, it’s the script. Although it does bring out moments of dramatic worth, I need felt it all came together clearly or pleasingly enough. Having the other story of the DEA dragged a lot and didn’t feel not nearly as compelling as watching Earl slowly make attempts at redemption while he goes along on this dangerous ride . And though The Mule has its share of humour and lightness, the middle part where Earl sees the corrupt but intriguing wealth of drug dealers doesn’t quite sit right with the rest of the film. It only is really there to show what while he’s old, he’s still got some rascal about him with the ladies and can still have a good time. This isn’t to say that The Mule is a terrible movie( it’s actually quite good but flawed in execution), I just expected a bit more from it. I’m firmly on the fence with this offering from Eastwood, but his undeniable talent is still alive which I’m grateful for. Once seriousness kicks in, the last half of The Mule redeems quite a number of the foibles that so ruined the earlier parts. It’s here when we get the weight and emotional heft of a man coming to terms with what he’s done and these are the best moments. Eastwood’s love of jazz is prevalent too, using any opportunity he can to indulge us with melodies.

Clint Eastwood can do the grumpy, old guy act in his sleep and he portrays something akin to that here. But being Eastwood, it’s not just cut and dry. He inserts charm, humour and sadness into the character often with just a look or movement of eyes. The character is morally complex and flawed, which Eastwood is adept at bringing forth here and throughout his career. And credit to the guy, he’s 88 and still going strong, even if he’s made to look more frail and weathered here than he actually is. He’s one of the biggest assets going in The Mule and of the best things in it. In yer,s of acting, Eastwood is given the most to do. Dianne Wiest makes the most of her role as the ex-wife who still can’t shake him, despite vehement arguments that she is fine alone. Her scenes with Eastwood really have an emotional hook to them that both play beautifully. On the other hand Bradley Cooper, Michael Peña and Laurence Fishburne are all underused as DEA agents closing on the cartel. All three are great actors, but they aren’t provided with sufficient meat to savour on and make them memorable in this flick. Taissa Farmiga does what she can with her role as the only person who seems to see the good in her flawed Grandfather, while Alison Eastwood(Clint’s actual daughter) has her moments reconnecting with her estranged father that hit hard. In a brief part, Andy Garcia is highly entertaining as the cartel boss with flamboyant style.

Immensely uneven but definitely watchable, The Mule is a mixed offering from Clint Eastwood. I’m firmly in the middle in my opinion, but I can’t deny that Eastwood’s still got it, even when the work is minor and not quite a pitch on his more successful films.

A Star Is Born

Tags

2010's, A Star Is Born, Bradley Cooper, Drama, Lady Gaga, Musical, Sam Elliott

Director

Bradley Cooper

Starring

• Bradley Cooper as Jackson Maine
• Lady Gaga as Ally
• Sam Elliott as Bobby Maine

The fourth version of a classic story of two careers in opposite directions, A Star Is Born certainly has pedigree. And though some may have scratched their heads at why another remake should be done, I’m sure they’d agree that this version sits up there with the best of them, thanks to what Bradley Cooper and Lady Gaga do with it.

Jackson Maine is a country rock star who has seen better days. Plagued by tinnitus and an addiction to booze and pills, his life is going through the motions. Drunk and in the middle of touring, Jackson stops in a drag bar. It is here he encounters Ally; a young woman in a dead-end job with dreams of being someone. She’s a talented singer and has a tough personality but is crippled with insecurity over the shallow people in the music industry who have dismissed her appearance in the past. Jackson is immediately struck by her and she is curious too. They grow closer to each other and Jackson helps Ally make a leap for stardom. They fall in love and marry, with Ally being a good influence on Jackson. She eventually becomes famous after Jackson invites her on stage to perform. Despite her initial nerves, she blows everyone away with her voice. Yet as stardom beckons, people want to mould her into something else and as her success soars, Jackson’s falls. Ally tries to retain her individuality, but her pushy manager has her switch her act and lose herself more and more. This causes an immense feeling of jealousy and resentment that has Jackson reaching for the booze and pills again. All of it hurtles towards tragedy for the couple as one career rises and the other inevitably falls.

Bradley Cooper makes a remarkably involving and emotional movie with A Star Is Born. He gets straight to the heart of the material and the themes of celebrity and tragedy with cracking results. It’s hard to believe that this is his directing debut, as he displays a deft understanding of film making and how to bring us close to the story in many ways. This version feels a bit more gritty, raw and stripped back and is all the better for that. That’s not to say it doesn’t have its nice and quiet moments though and many of this scenes stand out for their impact that has darkness but some lighter touches too. But where the film shines brightest is in the performance numbers. With a soundtrack written predominately by the two leads, A Star Is Born is brimming with show stopping tunes with a deeply personal undertone. One of the best is ‘Shallow’, a duet between Cooper and Gaga where both give it their all and Gaga telegraphs Ally’s burgeoning belief in herself. This song that packs the biggest emotional wallop however is ‘I’ll Never Love Again’. Seriously if you aren’t weeping during that sequence, you’ve obviously taken leave over your heart. a restless camera that often has extreme close-ups of faces and actions is employed throughout A Star Is Born. We are put into the action as love blooms for Ally and Jackson, but resentment grows as Ally’s career takes off and Jackson spirals further out of control. The story of A Star Is Born is familiar to most of us, but the new flourishes show it’s a tale that can be very timeless and take on many guises. It’s been told many times but when done right, like it is here, it really soars.a restless camera that often has extreme close-ups of faces and actions. We are put into the action as love blooms but so does resentment and addiction which spiral out of control. Some may find it to up close in the way it’s shot and that time flies a bit too quickly sometimes , but it’s still mightily effective storytelling despite some minor quibbles. The story of A Star Is Born is familiar to most of us, but the new flourishes show it’s a tale that can be very timeless and take on many guises. At the centre is a tragic love story that is strongly told and fraught with melancholy. It’s been told many times but when done right, like it is here, it really goes to new heights.

Bradley Cooper turns in one of his strongest performances in his career. Over the last few years, Cooper has steadily become a very reliable actor and a versatile one. Here, with his usually amiable voiced lowered considerably to a growl( and surprising musical chops), he displays such raw anger, sadness and tiredness that is very believable. Jackson is someone who has success but usually doesn’t see it and instead drowns in pity. Ally may represent the light for his safety, but Cooper finds that Jackson is so wound up and dependent on addiction that the once bright spark will eventually go out. Cooper is nothing short of a knockout here and this is extremely excellent work from him. Any worries that Lady Gaga’s image as a pop star will overshadow her performance are put to rest immediately as we witness her immense talent for acting by drawing on some of her own experiences. We all know she can sing, but here she takes it to another level and rocks us to the core. And her acting is one of the biggest assets of this movie. With personality, strength and vulnerability, she plays Ally tremendously as he feels so real and natural in this film, signifying her skill in this arena. We observe someone growing in confidence but being faced by many trials along the way and it’s played with an authentic and engaging edge. Gaga is at the top of her game with a compelling and sympathetic turn that announces great promise in an acting career. Cooper and Lady Gaga make for an incredible couple as their chemistry is immediate and extremely genuine that we feel the emotional highs and lows of their lives. Sam Elliott, of the moustache and grizzled, deep voice, steals whatever scenes he appears in as Jackson’s aggrieved brother. He’s been there for his brother but has a very fractious relationship with him. Elliott shows him to be the person who says it like it is often bluntly, but ultimately wanting to help his brother in the long run.

An excellent version of a classic story with two amazing central performances and  emotional material, A Star Is Born is strong movie making that has an impact on you. And after watching this excellent version, I’m very tempted to see the other interpretations again.

Alias Season 2

Tags

2000's, Alias, Alias Season 2, Bradley Cooper, Carl Lumbly, David Anders, Greg Grunberg, J. J. Abrams, Jennifer Garner, Kevin Weisman, Lena Olin, Merrin Dungey, Michael Vartan, Ron Rifkin, Victor Garber

Continuing from that jaw-dropping mother of a cliffhanger that Season 1 provided, Season 2 of Alias is a stellar follow on that is even better than the debut season. Introducing new dynamics plus one hell of a game changer in the middle, its compulsive television. Be warned, big spoilers will follow in this jam-packed review of the enthralling Season 2.

We open where we left off as Sydney(Jennifer Garner) comes face to face with her mother Irina Derevko(Lena Olin), who she first believed was dead but later discovered the deception of how she was a KGB agent. Things get more complex when her mother turns herself into the CIA. Sydney’s father and fellow double agent Jack(Victor Garber) is not so convinced that Irina will co-operate in bringing down SD-6, like she claims she will and sets out to prove this. But Sydney despite her better judgement, grows a little closer to her mother and Irina does provide some valuable information. Yet what does she get in the long run? That is the question on everyone’s lips. Sydney and Jack are forced to confront Irina and at times work with her, which makes events complex and challenging as no one knows what her motives are. Meanwhile, Vaughn(Michael Vartan) survived after he seemed to have drowned and returns to the CIA. He finds that his feelings for Sydney have gotten a lot more personal, but are restricted due to company protocol. Ruthless Sloane(Ron Rifkin) has now been given a seat in the Alliance, but is haunted by the fact that his wife who he supposedly killed may still be alive and used as leverage against him in an attempt to undermine him. Everything Sloane has worked for starts to fall away as the intrigue grows. The malevolent and slimy criminal Sark(David Anders) arrive back on the scene and offers his services to SD-6, who accept due to his knowledge. Yet this underscores a level of suspicion as Sydney is reticent of getting close to Sark because of how slippery he is and curious about what his true nature is. The role of Will(Bradley Cooper) changes as he stops being a reporter under duress and now aware of Sydney’s double life, is employed as an analyst for the CIA, which helps with matters pertaining to espionage without leading to jeopardy once more. Although Will now knows, she still has to keep her spy work concealed from best friend Francie and other colleagues at SD-6. Loyal Dixon(Carl Lumbly) begins to question whether Sydney is really a worker for SD-6 or a double agent, causing more conflict. As the roles of her friends change and she must face her own problems, it’s another eventful day for Sydney Bristow in the game of espionage, procuring objects of the mysterious Rambaldi and sabotaging SD-6 until it completely obliterates.

Right off the bat, we are thrust back into the perilous world of Alias, where fun can be had in equal measure. J.J. Abrams, and his team of writers and directors, fashion more crazy but hugely engaging stories for us to savor as Sydney does battle with enemies and even those closest. One of the reasons Alias is a good show is that it can juggle the balls of genres with relative ease. The package is one where you don’t have to suspend belief at various points but you are that fully immersed in the depth of most of it, that you can’t look away. The show has familiar elements like the cliffhanger structure, but this season shifts gears and occasionally takes another route which in turn makes it more intriguing and watchable. The expansion of greatness makes sure this season doesn’t suffer from a slump, instead being the opposite.

The introduction of Irina is a key example of upping the ante and giving more dynamics to a show that prides itself on its shifts in tone. The drama neatly goes hand in hand with the intrigue, allowing emotional interludes and Sydney’s globe-trotting missions where she dresses up in yet more colourful costumes, to be equally as riveting. Some may find the convoluted nature of Alias confusing, but once you get in its hard to resist. On the technical front, the editing and array of camera techniques keep Alias going along as quick as a speeding bullet with style to boot. The electronic beats of the score are twinned with emotive strings and distorted voices for a peculiar but haunting effect.

And here comes the big one that makes this season special. About midway through, the show does a ballsy move by having SD-6 destroyed in a real standout episode entitled ‘Phase One’. Seriously I can’t remember the last time an episode of television thrilled me as much as this one. Through discovering specific files and a computer server, Sydney and other CIA agents finally take down the corrupt organisation, though not without danger. If you want an eventful hour of television this is it. You have Sydney and Vaughn finally kissing, a sexy opener and the shocking killing of Francie, who is subsequently impersonated by a double. It is a work of television art that does everything right and more than delivers shocks in it. The impact of this is felt throughout the later half of the season and cements Alias as a show willing to take risk. More episodes of note are plentiful. A killer opening of revelations is just the right thing to hit the sweet spot and put us right back into this crazy world. The twisting ‘The Counteragent’ features Sydney making a deal with the devil to save Vaughn from a painful death after it is confirmed that he could be infected with a fatal disease, which shows just how much she cares about him. ‘The Abduction’ was a notable and fun episode where talkative gadget geek Marshall(Kevin Weisman) was put in the field for the first time and his mission was hilarious. And the finale ‘The Telling’ is a kick ass piece of television, featuring a shocking twist I never saw coming and a savage fight scene between Sydney and the Francie double in which the whole apartment is destroyed through the use of objects as weapons.

And where Alias score some of its biggest points and victories is with the well assembled cast it has. We have the lovely Jennifer Garner portraying Sydney once more and owning every minute. Sydney finds herself with more than her fair share of things to confront here, and the believable and natural acting from Garner highlights both the fighter and the woman she is. One thing that is hard to miss is how assertive Sydney has become now, she has her demons for sure but her resolve is significantly strengthened and this makes her grow even more. Jennifer Garner is just breathtaking in the amount of emotion she can project with the smallest gesture and the physical side of events that she is more than adept at. She is simply a force to reckoned with and one of immense power. The diminutive but immensely menacing work from Ron Rifkin as Sloane hits a high point here. He imbues Sloane with an insidious nastiness that comes to the front when it becomes apparent he foresaw the collapse of SD-6 and made his moves to go underground. Sloane, thanks to the good work of Rifkin, showcases a sense of vulnerability underneath it all but it’s the viciousness you remember. Victor Garber is on hand once more with his subtle performance as Jack, who will do just about anything to protect his daughter. Jack is one intriguing character who at times appears like he’s doing underhand and dirty things, but knows exactly what his long-term results will be.

By the far  the most interesting character this season is the enigmatic Irina. As played by the remarkable Lena Olin, we are never sure where her true loyalties lie. Essaying the complex character, Olin injects sly and ruthless tendencies, yet manages to show what can be seen as concern for her daughter. But is it all just a show of cunning lies? That’s where the excellence of her performance lies and how dynamic she makes the season. Then we have Michael Vartan returning as Sydney’s handler Vaughn and the two finally making a go of a relationship. More depth is given to Vaughn here, witnessed in his love for Sydney and his smart personality as well as patriotism. And its nice to finally see a relationship of romance develop between him and Sydney. Carl Lumbly and Kevin Weisman are great actors in their roles of Dixon and awkwardly funny Marshall, who are shocked to learn of betrayal but then recruited to the CIA. Carl Lumbly especially brings deep sympathy to Dixon and we feel his pain of being lied to and used. Bradley Cooper’s earnest relatability is very well used as Will, who finds himself back in the spy game but hopefully on the side where he won’t get hurt like in the past due to his snooping. David Anders is given a lot more to do this season after appearing sporadically throughout the first year as the slime ball Sark. He just exudes this smug, silver-tongued villainy that creates a character you love to hate. And partnering him with Sloane as the two go underground and continue to be a thorn in the side looking for Rambaldi works was a very good move. Greg Grunberg is also given an expanded role playing CIA agent and Vaughn’s friend Weiss. His humour and respect is a good asset to the show and it was good to see him being more prominent. And finally Merrin Dungey gets a more fleshed out challenging part to do as Francie and her murderous replacement. Francie was always the character who wasn’t involved in the spying game, so having her killed and replaced adds a whole other dimension to it that Dungey plays well as the evil of the double plays out.

1. The Enemy Walks In – A+
2. Trust Me – B+
3. Cipher – A
4. Dead Drop – B+
5. The Indicator – B+
6. Salvation – C
7. The Counteragent – A
8. Passage Part 1 – B
9. Passage Part 2 – B-
10. The Abduction – A
11. A Higher Echelon – B+
12. The Getaway – B
13. Phase One – A+
14. Double Agent – B-
15. A Free Agent – B
16. Firebomb – C
17. A Dark Turn – A
18. Truth Takes Time – B
19. Endgame – C+
20. Countdown – B+
21. Second Double – A
22. The Telling – A+

An unpredictable, action-packed sophomore season, Alias Season 2 is addictive television that is far from predictable as it constantly challenges and reshapes what we thought we know.

Alias Season 1

Tags

2000's, Alias, Alias Season 1, Bradley Cooper, Carl Lumbly, J. J. Abrams, Jennifer Garner, Kevin Weisman, Merrin Dungey, Michael Vartan, Ron Rifkin, Victor Garber

I wanted to get back into the swing of things by writing about television again. This time I decided to find a show that I’d never watched prior to this. I settled on Alias, a spy/ action series that I’d heard of but never saw before. Anyone who regularly frequents my blog will know of my love for the spy genre and a strong female character. These are both provided in Alias, as well as pulse pounding action, cool missions, deepening mysterious twists and some excellent character development. So here is my review of the first season of Alias. Caution, spoilers will follow.

Sydney Bristow(Jennifer Garner) to everyone else around her appears to be just an average young woman; a grad student taking English as a subject while leading a seemingly reasonable and uneventful life. Yet she has a very big secret, she works for SD-6, a covert part of the CIA where she is a well trained and immensely capable spy. Naturally keeping her identities from mingling is difficult for Sydney, yet it gets a lot more complicated and dramatic when her unsuspecting boyfriend Danny proposes. Feeling that she has to be honest with someone she plans on being with for a long time, Sydney reveals the truth about her spy work. Yet by telling Danny of her true nature, danger and tragedy soon follow. Her revelation is overheard by her superiors, in particular the cold and calculating Arvin Sloane(Ron Rifkin), and as a result Danny is killed for what he knows about the organisation. Devastated by this, Sydney does not know which way to turn. Her estranged father Jack(Victor Garber) arrives on the scene and drops a massive bombshell. SD-6 is not a branch of the CIA at all, but the very enemy Sydney believed she was fighting against, as well as the fact that he’s a double agent. Reeling from this, Sydney goes to the real CIA with her information and is quickly recruited to act as a double agent due to her skills. She is assigned a handler in Michael Vaughn(Michael Vartan), who she at first clashes with but then comes to an understanding with. Sydney is determined to bring down SD-6, even though being a double agent is an extremely risky move. So off she goes on double missions: which consist of recovering specific objects pertaining to a historical figure called Milo Rambaldi(who Sloane has an obsession with) or information for SD-6 and at the same time bringing knowledge and more evidence to bring down the organisation for the CIA with similar counter missions. This danger plays out as Sydney attempts to keep her identity hidden from her friends and SD-6, even as one of her closest friends, reporter Will Tippin(Bradley Cooper) begins to conduct his own investigation into Danny’s death not realising what he’s getting himself into. Her main colleagues at SD-6; Marcus Dixon(Carl Lumbly) and gadget man Marshall Flinkman( Kevin Weisman) are also in the dark about the nefarious organization’s true purpose, which poses another challenge for Sydney as she cares about them both but can’t reveal herself. Knowing her own mortality is one the line, Sydney suits up in a rash of disguises as she executes her work and begins to slowly destroy SD-6 from the inside. There’s also the matter of her stained relationship with her father to contend with, as well as things from the past like the “death” of Sydney’s mother that remain mysterious, before slowly coming to light.

From the very first moments Season 1, I knew that Alias was going to be something I’d enjoy. It’s hard to put my finger on why, but I’ll give it a good try. From the talented imagination of J. J. Abrams, Alias flourishes into a show of many layers to it, from action to mystery and even touches of drama. Alias employs some very good cliffhangers, that have you wanting to know what’s going to happen next as Sydney’s globetrotting missions get more thrilling as they continue. Taking influence from the Bond movies, Alias has the title sequence play as one mission finishes and another begins which is generally in the middle of an episode, quickening the impact and continuing the trend of having us biting our nails by the end of each episode. These techniques help the episodes flow into each other, craft nifty cliffhangers and are on point with keeping things very interesting in the long run.

Alias thankfully doesn’t dumb things down in the way that some action films or television can, instead showing off more personal and unexpected parts to compliment the thrills of which there are a lot. The quick pace of the show(perfectly blended with a whole host of electronic and techno music) is efficiently offset with the quieter moments when we see Sydney growing as a person and attempting to keep her secret protected. Not enough spy series or movies develop the characters in my book; the people are usually super strong and largely impervious to threat. Yet the character of Sydney is refreshingly different, because while she is very strong physically and emotionally, at the end of the day she’s got a vulnerability and depth to her that sets her apart from the pack. There is fun to be had with Alias watching as Sydney is each episode dressed up in an array of unusual costumes and brightly coloured wigs in order to carry out her missions. Some of the get-ups are pretty outrageous but this adds to the fun to be had as the scripts stop it from falling into completely ridiculous or inane territory with witty lines, references to parts of possible fantasy and action never far from view. Season 1 reveals itself as a strong and twisting starting point for a show that officially has me hooked. Standout episodes are a plenty, particularly the opening episode ‘Truth Be Told’ that unravels in the middle of the action and fills in the gaps in a non linear structure. The action packed ‘Doppelgänger’ is a real treat that is almost cinematic in execution and should be applauded for the balance between thrills and emotional drama. Creepiness is brought in among the many tonal differences of the show in ‘Reckoning’ and ‘Color Blind’, where Sydney has to go undercover as a mental patient in a horrifying asylum in Romania that is shot with the atmosphere of an old horror movie. ‘The Prophecy’ is one of the most eventful and entertaining episodes, as well as having Roger Moore feature in a guest role. And you can’t ask for a better season finale than the one provided, which answers some questions yet leaves us with questions for Season 2 Not every episode is stellar( then again what show has a season of constantly amazing episodes?), but the vast majority are extremely well orchestrated and executed. It would be impossible for me to write about every great episode as I would be here all day.

The excellent work of Jennifer Garner in the part of Sydney is what really makes the show tick. She is the beating heart of Alias and the one who most requirements fall upon as it’s primarily her story. And let me say that Jennifer Garner doesn’t miss a beat. Garner displays how Sydney’s world and what she thinks she knows is crumbled away and she is left to fight to get some semblance of it back. Her anger, intelligence, sadness and fear are all very palpable from the beginning of the show. Sydney clearly is anything but an uninteresting character and emerges as a well-developed, strong and resourceful woman having to juggle each side to her life that threatens to overflow if she isn’t careful. As much as Sydney is the mistress of concealment, Jennifer Garner brings out an emotional honesty to her that displays how Sydney may be a kick ass spy but she’s still a human being of genuine emotion. I simply cannot imagine anyone else playing the fighter that is Sydney both in the physical and emotional ways that Jennifer Garner brings to the table. Michael Vartan has the required smarts, eagerness and good looks that are great in the part of CIA officer Vaughn, who grows to be more attached to Sydney than he expected. The two have sparks but the show hints at them rather than just immediately make them an item, letting them grow closer over time. Victor Garber portrays Sydney’s enigmatic father Jack, whose fractured relationship with his estranged daughter plays in heavily throughout the narrative. Garber excellently gets across the reticence of Jack to reveal specific information which at first makes him seem uncaring, when in actual fact it is his way of shielding his daughter from even more danger than she often finds herself in. He is revealed to be a deeply compassionate man not afraid to take violent action to ensure the safety of Sydney. The dynamic of the two has the required awkwardness and unease to it that makes that part of the series mysterious yet with a growing near trust. Ron Rifkin is on hand for the creepy villainy and dedicated to the job tendencies of the corrupt Sloane, who slowly becomes suspicious that there is a mole in his organization. Just with a simple look, Rifkin gets across the darkness of this man and also a strange depth. Carl Lumbly and Kevin Weisman are solid as two of those working at SD-6: the loyal and well-meaning Dixon and geeky gadget master Marshall. Lumbly plays his performance as subtle and understated, while Weisman revels in the amusing tics of the awkward Marshall who comes up with some baffling but useful gadgets. Bradley Copper excels as the determined reporter Will, who out of unrequited love for Sydney, investigates the mysterious events around her and finds a lot more than he bargained for. Merrin Dungey stars as Francie, Sydney’s best friend and has the right chemistry with Jennifer Garner to create a convincing bond between these two. It helps the way the show balances Sydney’s dangerous double life with a sense of normality when she’s seen with Francie. She has probably the most ordinary role in the scope of the series, but it’s meant to be like that.

1. Truth Be Told – A+
2. So It Begins – A
3. Parity – B+
4. A Broken Heart – B
5. Doppelgänger – A+
6. Reckoning – A
7. Color Blind – A
8. Time Will Tell – B-
9. Mea Culpa – B+
10. Spirit – A
11. The Confession – B
12. The Box Part 1 – A
13. The Box Part 2 – A-
14. The Coup – C
15. Page 47 – B+
16. The Prophecy – A+
17. Q & A – C+
18. Masquerade – C-
19. Snowman – B+
20. The Solution – B+
21. Rendezvous – A
22. Almost Thirty Years – A+

An excitingly intricate show that keeps you on the edge of your seat, Alias has now become a fast favourite of mine as Season 1 draws you into it so effectively and fills it with mystery, espionage and a remarkable heroine. This has me super stoked for Season 2 and what it may have to offer in the way of twisting narrative and thrills.

Valentine’s Day

Tags

2010's, Anne Hathaway, Ashton Kutcher, Bradley Cooper, Bryce Robinson, Carter Jenkins, Emma Roberts, Eric Dane, Garry Marshall, George Lopez, Hector Elizondo, Jamie Foxx, Jennifer Garner, Jessica Alba, Jessica Biel, Julia Roberts, Kathy Bates, Patrick Dempsey, Queen Latifah, Romantic Comedy, Shirley MacLaine, Taylor Lautner, Taylor Swift, Topher Grace, Valentine's Day

Film Title

Valentine’s Day

Director

Garry Marshall

Starring

• Jessica Alba as Morley Clarkson
• Kathy Bates as Susan Moralez
• Jessica Biel as Kara Monahan
• Bradley Cooper as Holden Wilson
• Eric Dane as Sean Jackson
• Patrick Dempsey as Dr. Harrison Copeland
• Hector Elizondo as Edgar Paddington
• Jamie Foxx as Kelvin Moore
• Jennifer Garner as Julia Fitzpatrick
• Topher Grace as Jason Morris
• Anne Hathaway as Liz Curran
• Carter Jenkins as Alex
• Ashton Kutcher as Reed Bennett
• Queen Latifah as Paula Thomas
• Taylor Lautner as Willy Harrington
• George Lopez as Alphonso Rodriguez
• Shirley MacLaine as Estelle Paddington
• Emma Roberts as Grace Smart
• Julia Roberts as Capt. Kate Hazeltine
• Bryce Robinson as Edison
• Taylor Swift as Felicia

I was saddened yesterday to read of Garry Marshall’s death. He was a prolific director, producer and writer, who had a long and interesting career. One area he really succeeded in was directing romantic comedies and that is why I am going to review the all-star Valentine’s Day. I was planning to review this film anyway, but I will dedicate it to Garry Marshall now due to his passing. Anyway, back to the review.

Over the course of Valentine’s Day, the love lives of many residents is explored. Varying from newfound attraction to older couples, blinded love and pining, love seems to be everywhere in this set of interlocking stories. Good-hearted florist Reed Bennett proposes to his pretty girlfriend Morley, who accepts. The day seems to be going amazing for him, yet he soon sees that Morley is having doubts about marriage. His friends Alphonso and schoolteacher Julia stay quiet but aren’t surprised when Morley calls it off as they saw that the couple wasn’t ideally suited. Julia is having a relationship with the dashing Dr. Harrison Copeland, yet he is stringing her along because he is already married which Julia is unaware of. Reed discovers this and wants to help Julia, making him acknowledge that he has harboured feelings for his good friend for a while. Then we have Julia’s other friend publicist Kara, who despises the romantic day due to an unlucky history in love. Yet this could be changed by the equally cynical sports reporter Kelvin Moore, who has been coerced into doing a special on the importance of the day. Older couple Estelle and Edgar Paddington have been married for a long time, but something from the past is bothering Estelle as they contemplate renewing their vows. Kate Hazeltine, an army captain shares a flight with affable Holden and the two become friendly as she tells him that she is returning for one day to see someone special. And there are many more stories that are too many to document because this review would become extremely long-winded otherwise.

Garry Marshall brings his expertise to this sweet and fluffy film. This kind of movie was his bread and butter and his considerable love for the genre is very much apparent. I can’t really fault his direction here as it is well done, though other parts of the film aren’t as assured as Marshall’s direction. Each of these stories links to the next one in some strange way or another, some turning out not like you’d expect. Like with any movie containing an ensemble cast and multiple tales, certain stories are going to rise above others in terms of enjoyment. The best way to describe Valentine’s Day is as a big box of ribbon wrapped chocolates that is full to the brim with sweetness and delight, yet you remember some of the flavours more than others. The Taylor Swift/Taylor Lautner story could have been cut as it contributes nothing whatsoever to the story and the little boy trying to impress his sweetheart feels a bit too similar to one of the links in Love Actually. Then we have a nice story with Julia Roberts and Bradley Cooper talking on a flight back to Los Angeles that isn’t as clichéd as one would originally think. Anyone going into Valentine’s Day thinking it’s going to be something new will be mistaken because the formula of the film is familiar. Yet this isn’t to do the film down, it’s just how many romantic comedies have a story that is generic and been done before? It’s a genre that thrives on stories you’ve seen before and Valentine’s Day is no different in that respect. It’s a surprisingly sweet and funny experience actually and not as bad as many people have made the film out to be. I will admit I can be a sucker for romantic comedies sometimes so my opinion could be biased, but I enjoyed this film, even if the film is guilty of being over busy.

And following on about the film being busy, you have to say that the cast is one attractive bunch of stars. Be prepared readers, it may take some time talking about his massive cast. Ashton Kutcher is probably the person seen the most in Valentine’s Day and he has a real exuberance that shines through in an endearing way. A natural and sweet performance from Jennifer Garner is a nicely cast part, with plenty of humour and heart. Jessica Biel is particularly funny as a woman who holds a I hate Valentine’s Party, but secretly wants some romance in her life that has been elusive so far. Alongside Biel in the humour department there is an amusing Jamie Foxx. Old pros Shirley MacLaine and Hector Elizondo bring warmth and experience to their roles as an older couple having to deal with feelings they weren’t sure of. Anne Hathaway and Topher Grace have good chemistry as a new couple with a hitch, she moonlights as a phone sex operator to pay off bills. Leading to much confusion, the two stars have fun and spark off each other well as they navigate the challenges of love.

Julia Roberts, who is already adept at romantic comedy, is luminous along with Bradley Cooper, in an amiable and funny vignette. Eric Dane and George Lopez fare pretty well with the material they are given. Emma Roberts and Carter Jenkins make their tale funny and a little relatable as they play two students planning to have sex for the first time. Trouble is, it doesn’t go to plan leading to an amusing scene of Jenkins preparing to serenade his beloved wearing nothing but a guitar and being caught by her mother. Kathy Bates is unfortunately reduced to nothing but a cameo which is annoying considering how good Bates is as an actress. The same goes for Queen Latifah who is wasted and not given any opportunity to shine. On the negative side of casting we have Jessica Alba, who despite her beauty, is more than a little bland in her delivery. Young Bruce Robinson is endearing enough as the enamoured young boy wanting to impress a girl he has a crush on. The problem is the story is pretty much a non-starter that never comes to life. Patrick Dempsey plays a love rat with some smoothness that starts to vanish once he’s found out. Taylor Swift and Taylor Lautner are pretty poor as a love struck young couple and their story feels like it could have been left on the cutting room floor.

It’s not the best romantic comedy but it’s far from the worst, and Valentine’s Day displays the flair and entertainment value that Garry Marshall had for this sort of thing that will be missed within the genre. Rest in Peace Garry Marshall, may your great spirit live on through your wonderful work.

 

American Hustle

Tags

2010's, American Hustle, Amy Adams, Bradley Cooper, Christian Bale, Comedy, Crime, David O. Russell, Jennifer Lawrence, Jeremy Renner

Film Title

American Hustle

Director

David O. Russell

Starring

• Christian Bale as Irving Rosenfeld
• Amy Adams as Sydney Prosser
• Bradley Cooper as Richie DiMaso
• Jeremy Renner as Carmine Polito
• Jennifer Lawrence as Rosalyn Rosenfeld

Loosely inspired by the FBI ABSCAM sting operation of the 1970’s, American Hustle is a slick, well-acted crime comedy with eccentric characters and themes of survival, deception and scamming. The style may distract from the narrative for some, but David O. Russell’s film is for the most part as tightly constructed as the perm donned by Bradley Cooper’s character. Boasting an excellent A List cast who all bring their talents to the forefront also helps with the success of American Hustle.

It’s 1978, Irving Rosenfeld is a con artist who is aided by the stunningly seductive former stripper Sydney Prosser who he is crazy in love with despite the fact he is married to Rosalyn and has a young son. Sydney poses as an English Lady of the Manor in order to help with the various cons they pull. Their scams are going pretty well until they are busted by FBI agent Richie DiMaso. Rather than hand them up to justice, he instead thinks of a better use for the two. He persuades them into helping him with sting operations, one in which involves Carmine Polito, the Mayor of New Jersey. As the operations continue, they become more dangerous as the mob becomes involved and Irving’s unstable wife Rosalyn begins to suspect something . But in the game of conning, nothing is as clear as it appears and our characters find themselves wound up in deceit and corruption. Prepare for snappy visual style, 70’s grooves and wardrobes, and a whole lot of fun as American Hustle delivers a humour filled journey through the world of con artists.

David O. Russell directs with visual nods to Scorsese and other crime capers. It is impossible not to watch the snappy edits and use of soundtrack and not think of a Scorsese movie. Although the visuals may overpower the story at certain points and the tone can be a little uneven, the script manages to entertain the audience none the less. Featuring humour galore and interesting characters to flesh out the sharp, snazzy story and the various incidents arising from Richie’s complicated plans. Various scenes that stand out are Irving’s morning routine of styling his elaborate comb over, the sassy Sydney dancing with Richie to the sound of Donna Summer and the unpredictable Rosalyn’s run in with a microwave (which she refers to as a space oven). Special praise must go to costume and hair styling as it is second to none. From gaudy ties to slinky sequined gowns and perms , American Hustle has major props when it comes to styling these characters that populate this crime comedy.

Yet the biggest impression and the thing you will remember the most, is the talented and starry cast of American Hustle. Christian Bales absolutely nails the role of Irving, giving us an interesting character who can be smart, jealous and skilled. Bale gained around  40 lbs for the role and the results show his commitment to the role and how skilled an actor he is. Amy Adams provides a multi-faceted performance in the form of Sydney; she’s intelligent, at times ruthless and sexy as hell. Adams shows us all these sides to her that helps us wonder which side her character really is on in this thrilling con game. Bradley Cooper is an absolute hoot as the over eager FBI agent Richie, he really does make your side split with some of the remarks he comes out with. Jeremy Renner manages to give us a sympathetic character as Carmine, the mayor who makes bad decisions for good reasons and as a result is drawn into the operations. Rounding out the main cast is Jennifer Lawrence as the unstable and spurned Rosalyn. Lawrence really is hysterical in this movie and the film gains a certain vibrancy and spontaneity whenever Rosalyn is onscreen as you wonder what she will possibly do next.

Snappy, hysterical and all round good fun, American Hustle is stylish and well executed. The substance may be slightly lacking, yet you will probably not notice because of the stunning central performances provided. American Hustle is some of the most fun I’ve had at the cinema for a while.