A Beautiful Day in the Neighborhood

A Beautiful Day in the Neighborhood (2019)

Starring Matthew Rhys, Tom Hanks, Susan Kelechi Watson, Chris Cooper, Maryann Plunkett, Enrico Colantoni, Wendy Makkenna, Tammy Blanchard, and Christine Lahti

Directed by Marielle Heller

Written by Micah Fitzerman-Blue and Noah Harpster

Click here for my Letterboxd review

The RyMickey Rating: A-

Little Women

Little Women (2019)

Starring Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel, Chris Cooper, and Meryl Streep

Directed by Greta Gerwig

Written by Greta Gerwig

Click here for my Letterboxd review

The RyMickey Rating:  B

Movie Review - The Bourne Identity

***Movie #1 of BOURNE Week***
The Bourne Identity (2002)

Starring Matt Damon, Franka Potente, Chris Cooper, Clive Owen, Brian Cox, Adewale Akinnuoye-Agbaje, and Julia Stiles

Directed by Doug Liman

It had been a long time since my last viewing of any movie in the Bourne series, so much so that I couldn't quite remember how many of the films I had actually seen.  With the latest film hitting theaters in 2016, I figured I'd revisit the series to determine if my lackluster feeling towards the films (so far as I could remember) was warranted.  After rewatching the first flick, The Bourne Identity, "lackluster" may be too strong of a negative word, but I will say that the flick was a surprisingly low-key affair, lacking the pivotal action sequences we've come to except from films in this "spy-ish" genre.

Granted, I'm all for reinventing the wheel, but The Bourne Identity doesn't really do that either.  What is unique about it is that is gives us a main character who doesn't know anything about himself -- who he is, what he does, what he's done -- when he is found lifelessly floating in a European sea and picked up by a boat.  Shot multiple times, one of the crew members nurses him back to health, discovering an embedded laser chip that seems to reveal the location of a safety deposit box.  Giving the chip to the nameless man upon arrival at a port, upon locating the box in Zurich, the man discovers that this name is Jason Bourne (Matt Damon), but he still doesn't know anything about himself.  However, he continues to have horrific violent memories popping into his mind of him seemingly committing crimes and he is surprisingly adept at fighting, using weapons, and thinking quickly on his feet.  Add to that, upon removing his items from the safety deposit box, he finds himself on the run from operatives who seem to be chasing him down for some reason.  Hoping to elude them, Bourne convinces a German woman named Marie (Franka Potente) to drive him to Paris where he believes he will uncover the truth about who he really is.

The Bourne Identity is certainly a solid piece of cinema and a decent film in the spy genre.  However, in director Doug Liman's hands, the film feels a little bland.  It doesn't take any chances visually and while that's not necessarily a bad thing, it doesn't ever feel special because of it.  The minimalist action sequences all work, but I surprisingly walked away from the film wanting a little more oomph and drive from those particular cinematic moments.  The character of Jason Bourne himself is an interesting one, though, whose story could easily be followed for subsequent films particularly due to his pre-amnesiac involvement in the CIA (which is revealed very early in the film, so no spoilers there).  While I didn't particularly love The Bourne Identity, things were looking up as I headed into the second film in the series...but would the Paul Greengrass-directed sequel continue my "This isn't as bad as I remember" mindset?

The RyMickey Rating:  B-

Movie Review - The Amazing Spider-Man 2

The Amazing Spider-Man 2 (2014)

Starring Andrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan, Chris Cooper, Colm Feore, Felicity Jones, Paul Giamatti, Embeth Davidtz, Campbell Scott, and Sally Field

Directed by Marc Webb

While moderately better than 2012's The Amazing Spider-Man mainly because we're able to move on beyond the re-telling of Spidey's origin story, there's something about this title character that doesn't quite click with me.  If I remember correctly, there has always been some sly, comedic aspect to Peter Parker whenever he finds himself wearing the Spiderman attire and I find it oddly disconcerting.  When faced with evil villains like Electro (Jamie Foxx), a lowly worker at the Oscorp Power Company whose obsession with Spiderman takes a nasty turn, and the Green Goblin (Dane DeHaan), who was previously Harry Osborn, son of the founder of Oscorp, Spidey just makes jokes.  Because of this, any potential for suspense is oftentimes mitigated.

When compared to the Tobey Maguire/Kirsten Dunst trilogy, I still think Andrew Garfield and Emma Stone fare better in the acting department as both Garfield and Stone more believably inhabit their characters' tumultuous relationship.  With the exception of Jamie Foxx -- who, admittedly, is given a bit more of a stock character type of role than those around him -- most of the acting is solid which certainly helps matters and makes things watchable.  However, I still find myself utterly uninterested whenever Garfield's Peter Parker puts on the Spidey suit.

Perhaps it's the lack of believable special effects.  I commented on this after watching the first film as well, but there must be something about having some guy fly around in a suit like Spidey's that makes things look incredibly fake.  Unfortunately, the fx wizards didn't fix things with this second film -- you're always well aware that you're watching animation onscreen and it's irritating, removing us from the story at times.  While there have certainly been worse superhero films, this new reimagining of the Spider-Man story doesn't really have the cinematic chops to make it worth continuing.

The RyMickey Rating:  C

Movie Review - The Company You Keep

The Company You Keep (2013)

Starring Robert Redford, Shia LaBeouf, Julie Christie, Susan Sarandon, Nick Nolte, Chris Cooper, Terrence Howard, Stanley Tucci, Richard Jenkins, Anna Kendrick, Brendan Gleeson, Brit Marling, Sam Elliott, Stephen Root, and Jackie Evancho 

Directed by Robert Redford

Just take a look at that talent listed above -- that's a helluva lot of names, most of whom are known for giving good performances.  Robert Redford's film The Company You Keep (culled from a script by Lem Dobbs) plays like a novel, introducing each of these actors for a chapter and then having them disappear.  This episodic nature proves very tedious about halfway through once we realize what's going on.  It fails to allow us to connect to anyone...then again, I'm not sure we really want to connect with any of these people.

The film opens with a brief flashback in newsreel/news footage form about a series of protests in the 1960/70s by a homegrown American "terrorist" group known as the Weather Underground -- a real-life "activist" group that bombed government buildings and banks as public demonstrations to gain notoriety in an attempt to overthrow the US government for what they perceived as wrongdoings during the Vietnam era.  The last blip of the flashback tells us about a 1980 bank robbery in which a civilian was killed and how the three people responsible are still at large.

Cut to present time and Sharon Solarz (Susan Sarandon) is arrested when buying gas at a convenience store in New York.  Solarz was one a Weather Underground member and one of the three people responsible for that ill-fated bank robbery that resulted in a death.  She had lived her life -- got married, had kids -- but the guilt of that day always stayed with her and Solarz, a Vermont resident, specifically crossed the New York state border to buy gas in order to get arrested and turn herself in.  This sets the FBI on a hunt for Solarz's colleagues in the crime, while also piquing the interest of Ben Shepard (Shia LaBeouf), a young reporter at the local Albany newspaper.  Shepard ends up discovering more than the FBI (which doesn't sit too well with the FBI chief played by Terrence Howard) when he uncovers the fact that a local lawyer named Jim Grant (Robert Redford) is actually Nick Sloan, a presumed dead Weather Underground member suspected of taking part in the murder at the bank in 1980.  When Shepard confronts Grant about this, Grant immediately grows suspicious that the FBI will soon be on his tail and he sets off across the country trying to evade the FBI, while also trying to clear his name.

While the premise above is actually interesting that all takes place in the film's opening thirty minutes after which things quickly fall apart, digressing into scenes in which Redford's character meets up an old, hardened former Weather Underground member who then gets tracked down by the FBI just as Grant manages to make an escape.  This seriously happens four or five times and maybe it could've worked if any of these scenes ended up being anything other than two old people reminiscing about how shitty the government's treatment of the less fortunate is.  (Of course, the majority of these old fogies are now living in expensive houses, sailing yachts, or working at prestigious universities...so their sympathetic allegiance with the poor feels disingenuous...then again, that's the good old liberal mindset, ain't it?)

There are a couple of decent performances here -- LaBeouf is strong as the go-getting reporter, Sarandon makes the most of her small role with a particularly good scene in which she explains her actions -- but the typically strong cast isn't given much to work with and Redford doesn't really pull great performances from their small parts.  For someone who was a supposed sex symbol and movie star back in the day, Redford himself is uncharismatic and particularly bland here which is a disappointment considering he and LaBeouf are the only two actors who we see throughout the entire film.  The Company You Keep may very well have the most prestigious cast assembled for a 2013 film, but despite the high quality of actors, Robert Redford's film just meanders along for two hours failing to be anything more exciting than a game of "Which Celebrity Will Appear Next?"

The RyMickey Rating:  C- 

Movie Review - August: Osage County

August: Osage County (2013)

Starring Meryl Streep, Julia Roberts, Julianne Nicholson, Juliette Lewis, Chris Cooper, Ewan McGregory, Margo Martindale, Dermot Mulroney, Abigail Breslin, Benedict Cumberbatch, Misty Upham, and Sam Shepard

Directed by John Wells

I must admit that I avoided August: Osage County in theaters because I had a disappointing experience with the Pulitzer Prize-winning play upon which the film is based.  Four years ago, I remember heading up to Philadelphia on my birthday excited to see both the Phillies play a day game (this was when they were still moderately good, whereas games now are sometimes greeted with exasperation when I have to go) and then go see August: Osage County on stage at night.  The play had garnered gushing rave reviews and won a slew of awards when it had played in New York City, so I told my family that it had to be good.  It wasn't (and my review reiterated this).  I was greeted with a three hour-and-twenty minute soap opera that seemingly kept trying to one-up itself with ridiculous "surprises."  Needless to say, this previous experience with playwright Tracy Letts' material didn't have me awaiting with bated breath his re-working of his own play for the silver screen.  Color me surprised then when I finally put the Blu-Ray into the player and discovered that Letts pared down his play by over an hour and created something that is still steeped in GREAT melodrama, but works a bit better on the screen than it did on the stage.

With a huge esteemed acting ensemble in tow, August: Osage County tells the story of the Weston family whose patriarch Beverly (Sam Shepard) has gone missing at the film's start.  Ailing matriarch Violet (Meryl Streep) calls her three daughters -- Barbara, Ivy, and Karen (Julia Roberts, Julianne Nicholson, and Juliette Lewis, respectively) -- back to their old Oklahoma home to help their cancer-stricken mother find their father.  Taking place almost entirely in and around their childhood home, the three daughters find themselves having to deal with their abrasive and over-medicated mother, her somewhat crazy, though lovable sister Mattie Fae (Margo Martindale), and their own significant others all of whom are creating trouble for their own personal lives.

This is a film that despite being nearly balanced in terms of the gender make-up of the cast is all about the women.  While Ewan McGregor, Dermot Mulroney, Chris Cooper, and Benedict Cumberbatch may try to act like they're important, the core relationship this film is focusing upon is that of Violet and her three daughters and all four of the actresses portraying those characters hold their own.  Of course, Meryl Streep is quite good, playing the incredibly off-putting and sharp-tongued no-nonsense Violet.  In my opinion, however, she's upstaged by Julia Roberts who brings a quiet resilience and strength to Barbara, a character who, in my opinion, is just as much a lead as Violet despite the fact that the film and play may try and convince you otherwise.  Unfortunately (and this isn't Roberts' fault as I felt this was an issue in the theatrical production as well), the character of Barbara is a tiny bit flawed.  [Moderate Spoiler:  Tracy Letts attempts to make us feel that Barbara is "becoming" her mother in terms of personality, words, and actions, but I never was convinced of that.  Despite literally being told, "You're becoming our mother," Barbara is much more grounded than we ever see Violet and, I believe being the oldest daughter, she feels simply that she needs to smack a little bit of sense into her sisters considering that she's had her own troubles and doesn't want to see her siblings fall down a dark path.]

August: Osage County isn't a perfect film, but its flaws abound from the Pulitzer Prize-winning (for some reason) script.  This is absolutely a convoluted family soap opera -- epic almost in its laughable plot twists at times.  Still, thanks to a fantastic cast of actors -- not a single one of whom disappoints in the slightest -- they elevate this sometimes silly material and make us give a damn about this crazy Weston family.

The RyMickey Rating:  B

Movie Review - The Muppets

The Muppets (2011)

Starring Jason Segel, Amy Adams, Chris Cooper, Rashida Jones, Kermit, Miss Piggy, Fozzie Bear, Gonzo, Animal, and all your favorite Muppets of yore

Directed by James Bobin

If they're searching for methods to help drug addicts get over their cravings, search no further than The Muppets -- a movie that put me on a euphoric high quite like (I'd imagine) any type of illegal substance.  A smile will never leave your face during its running time -- unless you find yourself tearing up at the sentimental musings of a frog made of felt like I did at times.

I was worried about this one.  I had such high expectations.  I tried to avoid everything other than those parody trailers that, while certainly humorous, admittedly made me cautious for fear of trying to "hip up" the Muppets in some way (and after some recent failed attempts since 1992's Muppet Christmas Carol, I was even more on edge).  My worries were unfounded, however, as Muppet-lover Jason Segal has co-wrote a glorious ode to some favorite characters of my youth.  The nostalgia factor is certainly working overtime here, but that's not the only thing carrying this to greatness -- it's a genuinely well-made and charming flick as well.

Echoing their "true life" story, the Muppets in The Muppets have faded from the public's favor after a very successful run from the mid-seventies through the 1980s.  This loss of popularity caused the Muppets to split up, all heading their various ways and leading to the near abandonment of the once great Muppet Studios in Los Angeles.  This doesn't sit too well with Walter, a Muppet himself, who has always found himself out of place in the small town of Small Town, forever living in a world inhabited by humans including his brother Gary (Segel) -- and, no, the movie offers no explanation as to how Walter and Gary could possibly be related despite the fact that one is made out of fabric and the other is made out of DNA -- just go with it.  When taking a trip to the deserted and dilapidated Muppet Studios in LA with Gary and Gary's gal Mary (an absolutely adorable Amy Adams), Walter unwittingly stumbles onto a plan by oil tycoon Tex Richman (the slimy Chris Cooper) to raze the studios and drill for oil underneath unless the Muppets can raise ten million dollars within two weeks.  This sets into effect the whole point of the movie -- a Muppet reunion to have a telethon that will hopefully save the Studios and reinvigorate the public's love for this adorable creatures.

The story is simple and perhaps runs a tiny bit thin during the hunt to track down Kermit's Muppet pals, but none of that really matters in the end because the film is so goshdarn amusing and pleasant that you can overlook a tiny flaw here or there (and they really are tiny because the flick overall is pretty spectacular).  Right from the beginning, Jason Segel, his co-writer Nicholas Stoller, music supervisor Bret McKenzie, and director James Bobin (the latter two worked on HBO's short-lived Flight of the Conchords of which this flick sometimes has a similar vibe) set up a charmingly corny self-aware breaking-the-fourth-wall kind of vibe where the routine task of brushing one's teeth can elicit wonderfully funny and beguilingly whimsical music numbers to take flight.  Segel and his human co-star Amy Adams are game for this happy-go-lucky vibe with their "aw shucks" demeanors playing splendidly next to the old school showmanship of the Muppets who rightfully take center stage throughout much of the film.  Similarly, Chris Cooper deliciously hams up the scenery as the nefarious oil tycoon villain providing the perfect counterpoint to the squeaky clean demeanor of everyone surrounding him.

And the Muppets themselves...they've provided so many great memories for this reviewer and their eponymous movie is just one more winner to add to the list.  Sure, their voices may have changed a little bit (Fozzie's stuck out the most to me as not quite getting the vocal tones right), but they're still the same characters we all grew to love when we were kids.  Gonzo's still goofy, the Swedish Chef is still incomprehensible, Fozzie's still producing the worst jokes imaginable, Miss Piggy's still bossy, and Kermit's still the (perhaps) reluctant, but ever lovable, ringleader of the gang.  Their storyline and the ensuing reunion of sorts was surprisingly touching and absolutely believable.  [There's a moment towards the beginning of the film where a sullen Kermit remembers his heyday that was nearly gutwrenching in its genuine sadness.]  It never feels like we're watching puppets -- even when we're following new and unknown Muppet felt creation Walter whose wide-eyed exuberance and optimism fits right in with older characters we've known and loved for decades.

One can only hope that The Muppets is a successful revival of the Muppets themselves.  Jason Segel has proven that he truly is a fan of these crazy creatures and his love is blatantly evident onscreen here with genuine care to honor Jim Henson's creations.  As soon as I saw Walter and Gary watching the original Muppet Show at the beginning of the film, I knew Segel was building upon the past rather than taking the Muppets in a completely different direction.  And when the shot of Jim Henson sitting next to Kermit popped up in a scene, this sense of tradition became even more obvious.  Kudos all around to all involved in The Muppets for crafting quite simply the most enjoyable time you will spend in a movie theater in 2011.

The RyMickey Rating:  A

Movie Review - The Company Men

The Company Men (2010)

Starring Ben Affleck, Tommy Lee Jones, Chris Cooper, Maria Bello, Craig T. Nelson, Rosemarie Dewitt, and Kevin Costner

Directed by John Wells

The Company Men is certainly a movie "for our times" as it weaves the tale of three corporate employees who lose their jobs due to downsizing.  While the flick may be entirely relevant in this period of high unemployment rates, it's simply not a very good story.  Its three main characters have the exact trajectories one would expect -- I had each of their resolutions pegged right at the get-go -- and writer-director John Wells isn't able to manage to keep things the least bit interesting.

Nursing a Boston accent that (considering his roots) surprisingly wavers, Ben Affleck is Bobby, "the young one" of the bunch who loses his white collar job when his company downsizes.  Finding it difficult to give up all he's had -- the country club membership, the Porsche, the fancy house -- he begins to have trouble supporting his family.  But Bobby isn't the only one who loses his job.  Fifty-something Phil (Chris Cooper) also gets the ax and it's blatantly evident from the very beginning that Phil's a guy that's not gonna handle things like this all that well.  The road he travels down is one that has been travelled by many a movie character and while it's believable, it's too obvious to come as a surprising turn of events.  Finally, Bobby and Phil's boss, Gene (Tommy Lee Jones) gets the boot, but finds that perhaps his firing may have been a blessing in disguise.

The biggest problem with The Company Men is that despite the fact that there could have been something quite substantive based on the subject manner, the film flounders in blandness.  The flick needs more bite and oomph, but instead Bobby, Phil, and Gene feel like simply "stock character types" pulled from some "Screenwriting 101" class.  There's a story to be told in grown men losing their jobs and being forced to reexamine their lives, but it's certainly not a story that's told well here.

The RyMickey Rating:  D+

Movie Review - The Town

The Town (2010)

Starring Ben Affleck, Rebecca Hall, Jeremy Renner, Jon Hamm, Blake Lively, Pete Postlewaite, and Chris Cooper

Directed by Ben Affleck

It's not as if there's anything new story-wise in The Town, but somehow director and co-screenwriter Ben Affleck manages to craft a taut thriller that succeeds in all aspects.  He isn't re-inventing the wheel, but Affleck proves to be a director with a keen eye for knowing how to move a film along at a brisk pace, while developing what could have been stereotypical characters into multi-dimensional personalities that help elevate the film to a whole other level.

Best friends Doug (Affleck) and Jem (Jeremy Renner) like to rob banks...and they're very good at it, eluding the FBI and covering up all of their tracks.  One bank robbery goes a little awry, however, and they need to take the bank manager, Claire (Rebecca Hall) hostage in order to escape.  While they let the hostage go, it's soon discovered that she lives a mere four blocks from Doug and Jem's home.  The highstrung and uptight Jem wants to do away with Claire for fear of their crime being uncovered, but Doug, the calmer and more caring of the two, tells Jem he'll watch over Claire and make sure she doesn't speak to the FBI.  Soon, a relationship forms between Doug and Claire with Claire completely unaware that she's dating the very man who took her hostage.

Let's call a spade a spade here -- there are clichés abounding in this movie.  We've got the bad guy with the heart of gold, the beautiful girl who causes the crook to question his "career path," and the need to pull off one last heist to name just a few of the commonplace stereotypes we come across.  Still, somehow, everything works in The Town and the reason is that the actors are all top notch, completely embodying these characters...even if we've seen these same characters before.

I'm perhaps sounding a little down on the flick and I don't want it to come off that way at all because The Town is, in fact, one of my favorite films of 2010 thus far.  So, instead of being negative, let's discuss the positives.

The acting across the board is great.  The Hurt Locker's Jeremy Renner is playing a completely different character here than his role in last year's Oscar-winning flick.  His Jem is a nasty guy -- not a likable thing about him -- but he's a treat to watch.  Rebecca Hall is also pretty perfect as the innocent Claire.  Anyone who's read my blog knows I like it when characters seem "real" and this her Claire is a perfect example of that.  From the way she moves her eyes to the way she spoke her lines, I kind of forgot I was watching an actress and not a real person.  Plus, you've got great turns from Jon Hamm as the FBI guy searching for Doug and Blake Lively as Doug's drug-addled former girlfriend.

And I didn't even talk about Affleck.  Yes, he was great in the film, but where he really shined was behind the camera.  This is definitely a step up from his previous directorial effort Gone Baby Gone, which, while a good film, lacked oomph.  In The Town, Affleck shows talent in the character-driven scenes, but really excels in the cleverly crafted action sequences.  Affleck manages to make each bank robbery scene seem fresh, never repetitive, and surprisingly nerve-wracking.  I can't imagine that the chase scenes he filmed were easy to capture and I was thoroughly impressed.

Don't think that I'm just giving Affleck props because he's "an actor" and did an admirable job directing "for an actor."  No, he did a good job for any director and I look forward to seeing whatever he tackles next in the directing department.

The RyMickey Rating:  B+

Movie Review - Where the Wild Things Are (2009)

Starring Max Records, Catherine Keener, Mark Ruffalo, and the voices of James Gandolfini, Lauren Ambrose, Catherine O'Hara, Chris Cooper, Paul Dano, and Forrest Whitaker
Directed by Spike Jonze

I can't even begin to tell you how much I want to like this movie. It has so many positive things going for it...unfortunately, a story is not one of them. And the lack of any type of strong narrative really manages to bring this movie down. I tried my hardest not to be bored, but the screenwriters need to give me a little something to keep me engaged.

Young Max isn't happy. His older sister is abandoning him for friends of a similar age. His mom is either working or spending time dating. One night, he flips out, bites his mother, and then runs away "into his imagination" to a land inhabited by larger than life monsters and animals. Max befriends these monsters, becomes their king, and realizes that their problems are similar to humankind.

I guess the problem with adapting a small children's picture book to the big screen is that you're inevitably going to have to add stuff in order to pad the running time into a feature film. There were little vignettes here and there in the film that worked, but it didn't really feel like a cohesive story.

And it's incredibly unfortunate because everything else on display here is top notch. I was quite impressed with young Max Records as Max. I don't think his role as a rambunctious youth was an easy one to play (mainly because the story doesn't really give him a whole lot of motivation or reasoning behind the things he does), but he's onscreen for nearly every scene and I was quite impressed with his work. Catherine Keener's role as his mom is very minimal, but she surprisingly made an impression on me (in a good way) despite her limited screen time.

Let's discuss the monsters now...there's some great puppetry/costumes going on here. Stunning stuff. Each monster manages to have their own distinct personality thanks to some great voice work and some amazing movements. I can't get over how "real" the facial reactions and arm movements and stances of the puppeteers felt to me...like watching a person onscreen instead of a furry creature. Like I said, the voices matched the monsters perfectly. James Gandolfini, Catherine O'Hara, Chris Cooper, Lauren Ambrose, and Forrest Whitaker all deserve kudos for creating believable monsters via their voicework.

And despite the fact that his screenplay was weak, as a director, Spike Jonze is something special. The film looked exquisite. Even in the opening scenes at Max's house, I was surprised by how much I liked the visuals. I like that Jonze doesn't rush things and he lets scenes sit there for a while (I know...kind of opposite to the fact that I said the movie was boring, but that's the fault of the script). I can see how some would watch the final scene of this movie - a perfect example of what I mention above -- and go, "What the heck was that?," but I looked at it and was pleased with it.

With so many things to love about this movie (I didn't even mention the odd soundtrack which absolutely added to the film, even if I wasn't head-over-heels in love with it), it pains me to give this the rating I'm going to give it. If only there was something story-wise here, this could've been one of my favorite movies of the year without a doubt.

The RyMickey Rating: C

Movie Review - New York, I Love You (2009)

Starring Jacinda Barrett, Rachel Bilson, Orlando Bloom, Hayden Christensen, Julie Christie, Bradley Cooper, Chris Cooper, Drea de Matteo, Andy Garcia, Ethan Hawke, Shia LaBeouf, Cloris Leachman, Robin Wright Penn, Natalie Portman, Christina Ricci, Qi Shu, Eli Wallach, and Anton Yelchin
Directed by 11 Directors of Varying Talent

I certainly haven't seen many short film collections, but it seems a difficult, unenviable task to assemble an anthology such as this. There's bound to be some works that are better than others and, when placed next to these intriguing shorts, all the other shorts pale in comparison. That's the case in New York, I Love You where you'll find three really good short films, but the other seven or so fall flat (or, at the very best, are simply adequate) and bog the film down.

Let's start with the good:

• My favorite segment was by director Allen Hughes starring Bradley Cooper and Drea de Matteo as two lovers who are contemplating the ramifications of their one-night stand. The short jumps back and forth between the two actors as the story is told through a voiceover depicting their thoughts and flashbacks to their sensual night before.
• Another winner was a segment starring Ethan Hawke and Qi Shu, directed by Yvan Attel. Hawke spends five minutes trying to bed married gal Shu whom he meets smoking on an NYC sidewalk. Little does he know that she's able to one-up him in the end. Later in the film, there's a segment starring Robin Wright Penn and Chris Cooper that appears to be very much the same story with the woman, Wright Penn, taking over Hawke's role. As I was watching it, I couldn't help but notice the similarity and I wondered to myself, why would they allow two shorts in this film to have such a similar storyline? Little did I know that they were directed by the same guy.
• The only other segment that I really enjoyed was directed by Joshua Marston and stars Cloris Leachman and Eli Wallach as an elderly couple celebrating their anniversary by returning to a memorable NYC landmark for them. Quite funny and beautifully acted by the two folks.

Unfortunately, after that, everything starts to go downhill. The segment Natalie Portman directed about a young girl and her father was alright (and starred one of my first crushes, Jacinda Barrett -- "Real World"er turned actress), but it wasn't anything special. And the segment that Portman starred in about some odd relationship between a Yiddish woman and an Indian man was awful.

In fact, the first three segments of this movie (of which Portman's starring role occurred in the middle) were awful. Starting the movie with the reteaming of Jumper stars Hayden Christensen and Rachel Bilson was a huge mistake. Bilson's a beauty to look at, but she can't act and Christensen was horrendous. And short #3 about Orlando Bloom as a composer was not good, either.

I haven't even discussed the obnoxiously pretentious segment about remembering one's youth starring Julie Christie and Shia LaBouef. The way it was filmed, it felt like I was watching some really expensive perfume commercial. Ugh.

The acting was all over the place -- some good performances (both Coopers, Hawke, Leachman, and Wallach) and some awful ones (Christensen, Bilson, Andy Garcia, Anton Yelchin) -- as was the direction.

Despite the fact that there were some good segments here, it just didn't work for me. And it certainly didn't seem to showcase New York City to me at all. In fact, the city came off as kind of drab.

The RyMickey Rating: D+