I Care a Lot

 I Care a Lot (2021 -- Oscars 2020)

Starring Rosamund Pike, Peter Dinklage, Eiza González, Chris Messina, Macon Blair, Alicia Witt, and Dianne Weist

Directed by J Blakeson

Written by J Blakeson

Click here for my Letterboxd review

The RyMickey Rating:  B+

Movie Review - Alex of Venice

Alex of Venice (2015)

Mary Elizabeth Winstead, Don Johnson, Derek Luke, Katie Nehra, Chris Messina, Skylar Gaertner, Reg E. Cathey, and Timm Sharp

Directed by Chris Messina

***This film is currently streaming on Netflix***

There's a simplicity to Alex of Venice, the directing debut of actor Chris Messina, that adds charm to the titular character's (Mary Elizabeth Winstead) newfound struggles following the leaving of her husband (Messina), the possible Alzheimer's diagnosis for her father (Don Johnson), and the arrival of her sister (Katie Nehra) who comes to the titular California town to look after Alex's son Dakota (Skylar Gaertner) while Alex works on an important environmental law case.  While that charming simplicity makes Alex of Venice innately watchable, it also doesn't provide much of a backdrop for what should be a slice of life story that feels as if it's trying too hard to cram too many "big" life moments into its short running time.

Winstead is captivating as the beleaguered mother who has spent so much time dealing with work that she's abandoned her family.  Her character feels grounded in reality as do most of the inhabitants of the film including Don Johnson's understated portrayal of an actor coming to grips with the onset of memory loss.  However, the flick -- the first screenplay for two of three credited screenwriters -- feels too kitchen sink-y to really resonate.  Divorce and abandonment and environmental protests and medical issues and even playwright Anton Chekov feel as if the writers just didn't know where to draw the line when it came to editing.  The Chekov inclusion, in particular, feels much too "final college thesis" rather than theatrical film to be anything other than laughable.

Admittedly, I'm making Alex of Venice sound worse than it is.  It's a watchable indie drama with decent performances that unfortunately is hampered by a script that doesn't do its cast any favors.  While it wouldn't necessarily be a bad watch, there are better things to stream on Netflix.

The RyMickey Rating:  C

Movie Review - Cake

Cake (2014)

Starring Jennifer Aniston, Adriana Barraza, Anna Kendrick, Sam Worthington, Mamie Gummer, Felicity Huffman, William H. Macy, and Chris Messina

Directed by Daniel Barnz

***This film is currently streaming on Netflix***

A little more darkly comic than I was expecting, Cake gives Jennifer Aniston a nice vehicle to showcase her dramatic chops (with tinges of humor), but surprisingly doesn't give her that "Oscar" moment for her to really make a huge impact.  Granted, that's not necessarily a bad thing -- the simplicity of the movie doesn't really call for that "Oscar Scene" to happen.  Still, the flick really fails on creating an emotional arc, with things feeling decidedly and disappointingly one-note.

Aniston is Claire Bennett, a woman in chronic pain struggling to cope with an horrific event from her past that fails to let her create a livable present.  With her life in shambles -- her husband (Chris Messina) has left her, a friend (Anna Kendrick) from her chronic pain support group has committed suicide, her anger causing issues with her group's leader (Felicity Huffman) and physical therapist (Mamie Gummer) -- the only person giving Claire any modicum of support is her housemaid Silvana (Adriana Barraza) who wishes nothing but the best for her employer, but is increasingly frustrated by Claire's reliance on pain medication to make it through day-to-day routines.

The best part of Cake is this relationship between Claire and Silvana, with both Aniston and Barraza playing off each other quite well creating moments of both humor and heartache.  The film falters when it branches out to some of the other aforementioned characters mainly because none of them are really given adequate time to create an emotional impact.  Ultimately, that's the underlying problem with Cake -- too many superfluous side stories when the best part of the screenplay focuses Claire's grief and how she and her only friend -- her maid -- deal with her issues.

You could certainly do worse than watch Cake and Aniston and Barraza are absolutely the reasons to give it a go.  Unfortunately, the screenplay doesn't quite give these two characters the adequate justice they deserve.

The RyMickey Rating:  C

Movie Review - Ruby Sparks

Ruby Sparks (2012)

Starring Paul Dano, Zoe Kazan, Chris Messina, Annette Bening, Steve Coogan, Elliot Gould, and Antonio Banderas

Directed by Jonathan Dayton and Valerie Faris

I wasn't the biggest fan of Little Miss Sunshine and Paul Dano isn't ever a draw for me, so a film by the directors and featuring one of the stars of that former Oscar-nominated flick wasn't ever going to jump out at me as a major draw.  However, I couldn't be more pleased that I gave Ruby Sparks a shot because I found the comedy to be more amusing than I ever could have imagined.  Maybe it was a case of lowered expectations, but that's probably selling the film short because I feel like Ruby Sparks is one of the best films to come out of 2012.

A decade ago, Calvin Weir-Fields (Paul Dano) wrote a quintessential piece of American literature -- a contemporary Catcher in the Rye if you will.  Since then, he's been able to live very well off the money brought in from his novel, but hasn't been able to follow it up with any work as he's been afraid of living up to the expectations from his modern-day masterpiece.  Much like his professional life, his love life has stalled.  After breaking up with a long-time girlfriend a few years ago, Calvin spends time at home alone with his dog much to the chagrin of his brother Harry (Chris Messina).  One evening, Calvin has a dream about a beautiful girl beckoning him to be with her and Calvin's therapist (Elliot Gould) seizes the moment and tells the author to start writing about her to try and get the creative juices flowing.

Calvin finds himself engrossed in writing for the first time in years, falling in love with his creation of the character of Ruby Sparks -- his ideal woman.  Color Calvin surprised when he wakes up one morning only to find Ruby (Zoe Kazan) actually in his apartment, complete with every mannerism and characteristic he has made up for her.  Whatever Calvin writes seemingly comes alive in Ruby right before his very eyes placing Calvin in an interesting conundrum -- does he write Ruby to be the woman he wants her to be or does he try and let her become her own woman with her own will and ambitions.

While there's certainly enchanting fantastical elements in this wonderful debut screenplay by Zoe Kazan, the film's directors don't dwell on the fact that this couldn't actually happen.  Instead, it's played rather straightforward and thanks to all players in front of and behind the scenes, we in the audience buy into the whole thing instantly.  Comedy is front and center at the initial meetings of Calvin and Ruby, but as the film progresses, we delve a bit more into what "love" should mean and that the "faults" of our partners endear them to us all the more.

Kazan has created a nice starring role for herself that allows her to play both the initial bubbly innocence of the fresh-faced Ruby and then shift into the more independent-minded woman that Ruby becomes.  While I'd apparently seen Kazan in a few films (most notably the western Meek's Cutoff), she isn't someone that had registered with me before.  However, after this, she'll definitely be on my radar and I hope that she takes another stab at writing as her screenplay proved to be quite unique.

Much to my surprise, Paul Dano didn't annoy me in the slightest.  It's not so much that Dano ever even annoys me, it's just that he always seems to fade away into the background of whatever movie he's in, never really standing out whether that be because his role is minor or because he's being overshadowed by a bigger, more imposing presence (see There Will Be Blood).  Here, however, the sheer fact that his character longs to be reclusive and away from spotlight fits Dano to a tee.  I think it may be his best work yet -- or, at the very least, his most enjoyable to watch.

With some very nice supporting turns from Chris Messina (a guy who I admire for taking even the smallest of roles and making them memorable) as Calvin's lewd, but incredibly well-meaning brother, along with Annette Bening and Antonio Banderas as Calvin's hippie mother and stepfather, Ruby Sparks proves that romantic comedies don't need to play to the lowest common denominators in terms of either raunchy behavior or bland stereotypes in order to succeed.  How this charming film didn't find more success is beyond me considering that it's the best comedy of 2012.

The RyMickey Rating:  A-

Movie Review - Celeste and Jesse Forever

Celeste and Jesse Forever (2013)

Starring Rashida Jones, Andy Samberg, Chris Messina, Ari Graynor, Eric Christian Olsen, Will McCormack, Rebecca Dayan, Elijah Wood, and Emma Roberts

Directed by Lee Toland Krieger

I don't think Rashida Jones will ever become a leading lady movie star, but I've got to say that she's got a fan in me (and it's time to pick up season two of Parks and Recreation from where I left off a long time ago).  There's an easygoing effervescent charm that exudes from her coupled with a edgy sarcastic sassiness that combines into something I find utterly appealing and her starring role in Celeste and Jesse Forever (which she co-wrote) gives her a chance to shine.

Married couple Celeste (Jones) and Jesse (Andy Samberg) recently separated, but despite this life change, they still remain the best of friends, hanging out with each other whenever they have spare time.  Their friends (Ari Graynor and Eric Christian Olsen) find Celeste and Jesse's situation uncomfortable and odd -- how can they move on with their lives if they never are separate from one another?  To Celeste and Jesse themselves, they're simply the best of friends who have come to realize that they are better friends than lovers, but this revelation doesn't change the fact that they care very much about each other.  When Jesse ends up meeting a former one-night stand (Rebecca Dayan) and re-connecting with her, Celeste is thrown into a tailspin despite the fact that of the duo she was seemingly the one who was more amenable to moving on.

This is Rashida Jones' first crack at screenwriting and she crafts a well-rounded role for herself that fits her like a glove.  Andy Samberg also gives a solid performance that is a bit more subdued than we've come to expect from his Saturday Night Live-Lonely Planet persona and it's pleasant to see this side of him.  Unfortunately, when the film slips away from the titular characters, the script slips a little bit into some tired comedic tropes we've seen before.  We've got the pot smoking best friend (co-writer Will McCormack), the quirky co-worker (Elijah Wood), and even a Lady Gaga-ish pop star (Emma Roberts) -- none of whom add anything to plot and only weigh it down.

But with this debut screenplay giving her a debut starring performance, Rashida Jones is certainly a positive takeaway from this witty film.  Hopefully we'll see more from her in the future.

The RyMickey Rating:  B-

Movie Review - Argo

Argo (2012)

Starring Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea Duvall, Scoot McNairy, Rory Cochrane, Christopher Denham, and Kerry Bishé

Directed by Ben Affleck

Having been born in 1980 and having taken very few (if any) "modern" history courses, I'm feeling moderately okay with the fact that I know very little about the Iran Hostage Crisis beyond the fact that "it happened."  I realize this is an irrational justification...I should know about this...but I don't.  Having said that, the story behind Argo wasn't even fully known until 1997 when President Bill Clinton declassified the information behind the release of six Americans from Iran who were previously thought to have been freed solely due to Canadian ingenuity.  The truth is that the release of the hostages was formulated much more thanks to US creativity, but the joint effort between the two countries was nothing short of amazing...and also kind of crazy.  Were this a fictional movie, you'd never believe it possible, but considering this actually happened, it's fascinatingly riveting.

Without going into the brief history lesson at the beginning of the film, let's just jump into the fact that in 1979, the US Embassy in Iran was overtaken and fifty-two Americans were taken hostage for over 444 days.  Argo is not their story, however.  Instead, Ben Affleck's film focuses upon six Americans who escaped the embassy and found a safe haven at the Canadian consulate.  Finding themselves forced to stay hidden, they quickly come down with a case of cabin fever with nowhere to turn.

Back in the States, our government is under pressure from Canada to get the Americans out of their embassy as Ambassador Ken Taylor (Victor Garber) is finding it increasingly difficult to keep his "houseguests" out of Iranian sight.  CIA exfiltration expert Tony Mendez (Ben Affleck) is called in by his boss Jack O'Donnell (Bryan Cranston) to try and figure out how to safely remove the hostages when every other CIA plan proves inadequate.  Mendez concocts a crazy notion to create a fake movie with the help of a Hollywood producer (Alan Arkin) and a make-up artist (John Goodman) that plans on shooting in Iran.  With a background story in place, Mendez heads into Iran posing as a Canadian film producer with the intent of getting the six hostages safely back home.

I think first and foremost praise for Argo's success needs to be heaped upon director Ben Affleck.  Affleck proved himself competent in the overrated though good Gone Baby Gone in 2007 and further showed his talent in the tense and taut The Town in 2010.  Neither of those films showed the deft hand he puts in place in Argo, though.  The last hour of this film flies by like no other movie I've seen this year (which is certainly, in part, due to the excellent script by Chris Terrio [in his debut!] which balances the severity of the rescue attempt with the sheer ridiculousness of the real life plot).  Amazingly crafted, Affleck is a talent behind the camera and this film shows it.  This is a smart thriller that had me biting my nails for the final thirty minutes.

Still, where Affleck proves his worth (as he has in all his films thus far) is in his way of pulling together incredibly talented actors and getting them to give great performances.  Argo continues this trend without a doubt.  A veritable "Who's Who" of "I've Seen That Guy Before," everyone here is working together as an ensemble.  No single person towers over another including Affleck who certainly has the lead role.  Ultimately, this may work to the film's disadvantage come Oscar time because I'm not really sure any one person stands out enough to warrant awards attention, but as an ensemble they are simply amazing.  Kudos certainly need to go to the six hostages -- Tate Donovan, Clea Duvall, Scoot McNairy, Rory Cochrane, Christopher Denham, and Kerry Bishé -- who find the perfect balance between relief that they found a safe home at the Canadian embassy to neurosis that they may never get back home alive.

Argo is a thrilling drama aimed at smart adults and the director at its helm deserves credit for its success.  I am well-known for looking at my watch during movies, but as I mentioned above, Argo flew by and that is always a success in my book...and it's also my first "A" rating of the year.

The RyMickey Rating: A

Movie Review - Devil

Devil (2010)

Starring Chris Messina and Five People Trapped in an Elevator

Directed by John Erick Dowdle

I'm not someone that finds M. Night Shyamalan laughable.  Reports spread that the trailer for Devil was receiving more than its share of chuckles when "From the mind of M. Night Shyamalan" popped up on the screen.  Yes, he's had his share of failures, but The Sixth Sense, Unbreakable, and Signs are a mighty successful one-two-three punch.  So, I actually kind of wanted to see Devil simply because of Shyamalan's name.  Maybe what the famous director needs is to do exactly what he does in this film -- simply think up a story and have someone else flesh it out and direct it.

Unfortunately, Devil falls a flat, but not because of the premise, so in that regard, Mr. Shyamalan has redeemed himself.  It's the screenplay, actors, and direction that cause this piece to disappoint.

This is a story that would have been incredibly successful as a Twilight Zone episode -- five people are trapped on an elevator.  One by one, the passengers are killed.  Who is the murderer?  Is it possible that some supernatural forces are involved?  Yes, it all sounds a bit insubstantial, but as a 30-minute tv show, I have no doubt it would have worked.  Stretching it out to a still fairly short 80 minutes, some silly backstories are thrown into the mix (including one very reminiscent of what Mel Gibson's character was going through in Signs) and none of them really stick.

Director John Erick Dowdle isnt' able to really build any suspense.  Granted, I will say that there is a good sense of claustrophobia as Dowdle is quite successful at bringing the audience right into the elevator with the five passengers.  However, there was never a moment where I felt tense or worried for any of these characters...and in a thriller that's a bit of a problem.

Dowdle also wasn't able to draw good performances from his actors.  I've seen Chris Messina in quite a bit over the past year (he took spot #4 in my Best Supporting Actor list and spot #5 on my Breakthrough  list in the 2009 RyMickey Awards), but he was just passable here as a cop trying to figure out what the hell is going on in the elevator.  It's more the fault of the silly lines he's forced to spout than anything else.  While Messina may be adequate, some of the passengers on the elevator didn't fare so well.  I understand the desire to not use any "stars" here, but you need believable actors that can spike up the tension in a film like this and none of the people stuck in the elevator were successful in that regard.

The RyMickey Rating:  C-

Movie Review - Brief Interviews with Hideous Men (2009)

Brief Interviews with Hideous Men
Starring Julianne Nicholson, John Krasinski, Chris Messina, Lou Taylor Pucci, Dominic Cooper, and Timothy Hutton
Directed by John Krasinski

I didn't get it. Not a bit.

There's this chick, Sara, who is interviewing men for some reason (disclosed only in the film's final seconds for some reason), and during these sessions, they reveal their innermost thoughts. Women. Sex. Their fathers. Their mothers. Nothing is "off limits." And nothing is entertaining.

It's essentially a series of monologues full of arty, smarter-than-thou mumbo jumbo that make no sense in terms of a "movie." Maybe as a play this could be successful, but it falls flat here.

Director John Krasinski (who also wrote the screenplay) has the film jump around in time. I'm not sure having the film play chronologically would have made any difference, though. He never once allows the viewer to connect with Sara or these subjects.

Pretty awful stuff.

The RyMickey Rating: D-

Movie Review - Julie & Julia (2009)

Starring Meryl Streep, Amy Adams, Stanley Tucci, Chris Messina, and Jane Lynch
Written and Directed by Nora Ephron

This is a movie that has four very good performances, but just can't seem to find itself. Telling both the story of how famous cook Julia Child (Meryl Streep) came to write her first cookbook and of how blogger Julie Powell (Amy Adams) trekked her way through all of the recipes in said Julia Child cookbook in a year, the movie just never picks up any steam and relies much too heavily on desperately trying to make comparisons between these two woman's lives. I was with the movie for the first 45 minutes to an hour, but then I just got bored with the same-old back and forth between these two women.

Despite my problems with the story, I really liked all four main actors here. Sure, Streep is simply copying Child's mannerisms and incredibly well-known voice, but I thought she did a great job. Child is certainly presented as kind of an egotistical, full-of-herself woman, but Streep sells the role. I'll be honest -- Streep made me smile multiple times during the movie simply by the way she looked at things or by a facial expression.

Amy Adams, on the other hand, is saddled with a role that's incredibly boring. I didn't give a damn about Julie Powell and her quest to do all these recipes. Adams is as cute (and, at times, hot) as could be, but Powell is a lost woman. She's trying to prove herself to someone, but in the end, I never really felt like she learned her lesson (which, if I'm being honest, I still don't quite know what this lesson was...that she can avoid procrastination?)

The two husbands -- Stanley Tucci as Child's and Chris Messina as Powell's -- were both good as well, although neither of them (Tucci in particular) really had moments that made them stand out. Nevertheless, both Tucci and Messina (who was so good in Away We Go) certainly were better than average in the simply average roles they were given.

So, here's the thing...I really think that all four of these performances were very good. On that basis, I think folks should see this one on video. However, my rating below is not going to make this flick fall into the "see it" category when I post my next "Year in Movies" post. So, rent it, but go into it not expecting a whole heckuva lot.

The RyMickey Rating: C-