Unbreakable

Unbreakable (2000)

Starring Bruce Willis, Samuel L. Jackson, Robin Wright Penn, Spencer Treat Clark, and Charlayne Woodard 

Directed by M. Knight Shyamalan

Written by M. Knight Shyamalan

Click here for my Letterboxd review

The RyMickey Rating:  B+

Wonder Woman

Wonder Woman (2017)

Starring Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Elena Anaya, and Connie Nielsen

Directed by Patty Jenkins

Written by Allan Heinberg
***This film is currently streaming via HBO***

Summary (in 500 words or less):  The origin story of the titular super hero, we follow a young Diana who as a child admires the warrior women with whom she lives on the island of Themyscira.  Trained by her aunt (Robin Wright) in the ways of the Amazonian females, a grown Diana (Gal Gadot) rescues American pilot Steve Trevor (Chris Pine) after his plane crashes in the waters off of her island home.  He tells Diana that World War II is ongoing and Diana leaves Themyscira in hopes of finding Ares, the God of War, who ages ago caused chaos amongst the gods.  It's decidedly more complicated than that...but long story short, Diana wants to seek revenge on damage Ares caused the Amazonian women years ago.

• While Wonder Woman is the best DC comics film so far, it really didn't need to be all that good in order to achieve that title.
• Much was made about how this was the first female-fronted superhero film and while that's an admirable feat, in my opinion the film was overpraised simply because of that.  At its heart, Wonder Woman is an origin story and most superhero origin stories lack excitement overall and that's the case here.
• Gal Gadot is fine as Diana, but she lacks a bit of nuance.  I think in subsequent films (see Justice League which will be reviewed soon), her character grows in appeal, but here she's a bit too stalwart which at times is a bit off-putting.
• Although directed by someone other than Zack Snyder whose stamp has been on nearly every DC movie thus far, this film still carries his aesthetic at times.  Most of the opening act taking place on the Amazonian island looks so fake and computer-generated that it's tough to really buy into what we're seeing.

The RyMickey Rating:  B-

Movie Review - Everest

Everest (2015)

***viewed in 3D***

Starring Jason Clarke, Jake Gyllenhaal, Josh Brolin, John Hawkes, Sam Worthington, Robin Wright, Michael Kelly, Elizabeth Debicki, Naoko Mori, Emily Watson, and Keira Knightley

Directed by Baltasar Kormákur

To me, there's an insanity that comes with wanting to climb a nearly unclimbable mountain like Mt. Everest.  Shelling out $64,000 to join the Adventure Consultants team headed by Rob Hall (Jason Clarke) seems like a crazy notion to me, but mailman Doug Hansen (John Hawkes), doctor and father Beck Weathers (Josh Brolin), writer Jon Krakauer (Michael Kelly), and forty-eight year-old avid climber Yasuko Namba (Naoko Mori) are just a few of the people who decided to do such a thing in March 1996.  Everest tells their tragic true story.

While there are certainly moments of sentimentality -- most stemming from the aforementioned climbers' phone calls home to their loved ones (Keira Knightley, Robin Wright) or base camp manager Helen (Emily Watson) -- Everest doesn't harp on them.  In a film that so easily could've created emotional connections between the climbers, Everest is really about Man vs. Nature.  When someone falls off a cliff edge, it's certainly a painful moment and it's greeted with sadness and grief by other climbers, but it's also the nature of the beast.  Don't mistake my writing and think that the film is callous to those who truly lost their lives -- it's not in the slightest.  It's simply that the film is like a docudrama, detailing the incidents with a bluntness we're not necessarily used to seeing in films -- and it works.

The film admittedly takes its time to get going, but director Baltasar Kormákur succeeds in making the build-up to the climb nearly as compelling as the climb itself.  Thanks to the adept screenplay, we learn little tidbits of info about each of our climbers without ever being burdened with big backstories (with the exception of perhaps Rob Hall who leads the expedition and is the main character in the ensemble).  Once we get onto the mountain itself, Kormákur creates an intense atmosphere where that aforementioned bluntness keeps us on a constant edge because we're never really given a warning or a build-up to when bad things are going to happen.

With special effects that are near flawless -- I genuinely felt like I was on Everest making the climb with the group -- Everest is certainly a success.  However, the lack of emotion -- the same thing I praised the film for earlier -- does end up being a slight downfall in the end.  It's the docudrama aspect of the whole affair that doesn't fully allow us in the audience to "feel" for the characters.  Only in the end when the requisite character codas flash up on the screen with "real life" photos of those who lost their lives on the mountain did I actually "feel" something.  The coda is there obviously to remind us that what we witnessed was true and there's no doubt in my mind that ending the film on this note is necessary to pay the proper respect to those who passed away.  However, the end also oddly makes us wish that the film itself inherently created the emotions that are aroused within us when we see the real-life photos.  It doesn't do that and because of that it's a bit too jarring of a conclusion.

The RyMickey Rating:  B

Movie Review - The Congress

The Congress (2014)

Starring Robin Wright, Harvey Keitel, Danny Huston, Kodi Smit-McPhee, Jon Hamm, and Paul Giamatti

Directed by Ari Folman

***This film is currently streaming on Amazon Prime***

Robin Wright plays a version of herself in The Congress set in an immediate future in which movie studios have perfected a method of digitizing images of stars and sending the real-life actors packing, creating new movies and media personas out of these fully lifelike computerized images.  Known for being a bit of a difficult actress (in the film, that is), Robin is also an aging woman -- something Hollywood is not overly fond of it seems.  Eager to spend a little more time at home with her two kids particularly since her son (Kodi Smit-McPhee) is suffering from the early onset of Usher Syndrome in which he is gradually and irrevocably losing his eyesight and hearing, Robin agrees to a contract that allows Miramount Studios to digitize her and use her image however they see fit.

I must admit that despite the somewhat slow pace, I was mildly intrigued with what The Congress was giving me during its first half with Robin Wright giving a surprisingly nuanced and understated performance as an actress struggling to have to let go of her family's source of livelihood and income.

And then the film jumps twenty years ahead and we see Robin driving down a desolate desert road only to be stopped at a checkpoint where she is given an ampule of liquid which she sniffs...and then turns into a cartoon.  Yep.  Although the animation in the film's second half is vivid, colorful, and steeped a visually impressive 1930s/40s style, the storyline of this segment of the film was much too difficult (and/or uninteresting) for me to follow.  With a whole bunch of metaphysical gobbledygook being spewed about one's real self and true being, I found myself zoning out way too many times for the film's own good.

With about thirty minutes left, I said aloud, "Why are you doing this to yourself?  Just stop watching."  And I almost gave in to that temptation, but I continued.  In the end, I'm glad I did as The Congress did become a little more comprehensible to me by the time it concluded, but it's still much too weird and dull for it to be even remotely recommendable which is a shame because the promise of the first half and the intriguing questions it raises about ageism and sexism in Hollywood are actually quite relevant.

The RyMickey Rating:  D+

Movie Review - A Most Wanted Man

A Most Wanted Man (2014)

Starring Philip Seymour Hoffman, Rachel McAdams, Robin Wright, Daniel Brühl, Grigoriy Dobrygin, Homayoun Ershadi, and Willem Dafoe

Directed by Anton Corbijn

What starts out very promisingly ends up being a bit too slow for its own good in A Most Wanted Man, a "thriller" about the leader of a secret German government intelligence agency's search for Muslim terrorists making their home on the streets of Hamburg.  Director Anton Corbijn's film is well acted, nicely directed, and adequately scripted, but the flick pulls the audience along with the notion that something surprising or exciting or intriguing will happen at the film's end.  To me, the flick's conclusion wasn't shocking or thrilling in the slightest as I found it rather obviously telegraphed from the film's onset.  Granted, there may be a detail or two that wasn't blatantly conspicuous, but not enough to really wow me.

A Most Wanted Man is buoyed by a good performance from Philip Seymour Hoffman -- one of his last -- as Günther Bachmann, the head of the covert German terrorism unit.  Troubled by the notion that the 9/11 terrorists planned their attacks right under his nose, Hoffman's Bachmann heads to the drink and the smokes quite often in order to placate himself into a calmer disposition.  A little more depth for his character would've been nice, but in the end, the film's focus is actually more on the purported terrorist Issa Karpov (Grigoriy Dobrygin) who just entered the country who Bachmann and his team are vigilantly following around.  The tension in the film stems from the notion that Bachmann's undisclosed governmental team desires to simply track Karpov in order to hope he'll lead to bigger terroristic fish while the "official" German and American authorities (the latter headed by Robin Wright) want to jump on Karpov right away.  This tug of war between Bachmann and his bosses is the most interesting aspects of the film, presumably basing itself in realistic tension and adding a layer to the film that we oftentimes don't see portrayed.

Unfortunately for the film, it's too long for its own good.  Yes, the length builds the tension, but the payoff doesn't correlate to the running time.  Instead, we get the same things over and over again -- Bachmann fighting with the higher-ups, Karpov talking with his human rights lawyer (played by Rachel McAdams), Bachmann following people around in his car -- and after the first admittedly good forty-five minutes, I found myself twiddling my thumbs.  A Most Wanted Man wants to be called a smart thriller, but there simply aren't enough thrills to warrant the "thriller" moniker.  A decent film, but one that's missing a bit of oomph.

The RyMickey Rating:  C+

Movie Review - Adore

Adore (2013)

Starring Naomi Watts, Robin Wright, Xavier Samuel, James Frecheville, Sophie Lowe, Jessica Tovey, and Ben Mendelsohn

Directed by Anne Fontaine

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

There's an uncomfortable feeling that permeates throughout Adore that I can't imagine anyone really finding kosher.  The story of two grown women -- Lil (Naomi Watts) and Roz (Robin Wright) -- going through a mid-life crisis is at its core.  Lil is a widow left with a son Ian (Xavier Samuel) after her husband dies who, despite nearly a decade without her significant other, hasn't quite moved on with her life.  Roz is Lil's best friend, has been married to Harold (Ben Mendelsohn) for two decades, and has a son named Tom (James Frecheville).  The two families have had their lives intertwined for years, but one night when Harold is away, that "intertwining" takes on new meaning as Ian and Roz have a passionate night of lovemaking only to be seen by Roz's son Ian.  Upset, Ian run to Lil...who ends up comforting him by sleeping with him as well.

Feeling a little skeezed out yet?  You should be.  The two women and their two sons decide that these relationships while admittedly a little odd are exactly what the doctor ordered -- they make the women feel young and also feel natural since they've all known each other for years.  That'd be one crazy doctor, however, to give the okay to the obviously psychologically damaging set-up that's going on here.

Oddly enough, however, I was actually moderately impressed at how the film takes its time exploring the two incredibly inappropriate relationships.  While the concept seems odd, the film makes the couplings feel like a natural progression (although, admittedly, director Anne Fontaine sets things up way too obviously in the film's opening act with sensual looks and simple caresses blatantly foreshadowing what is to come).  All of the actors sell the concept with Watts and Wright doing their best to try and make the audience feel less uncomfortable than the set-up inevitably warrants -- they don't necessarily succeed, but they come close.

Still, in the end, it all just feels rather silly.  There is an attempt at trying to get serious in the film's final act, but after two-thirds of frivolity and sexual shenanigans, I didn't buy into that aspect.  Adore was pretty roundly trashed by the critics upon its release and while I don't think it's deserving of a complete dismissal, it's just a tiny bit too icky to fully embrace.

The RyMickey Rating:  C

Ramblings on House of Cards

I don't usually discuss television at all on this blog, but I just wanted to throw a few thoughts out there about Netflix's House of Cards.  Anchored by a fantastic performance by Kevin Spacey, much has already been said about this being Netflix's first foray into series television and if this is the type of show the company bankrolls, I'll have to check out everything they bring to the table (except Arrested Development -- I tried...I just don't get it).

Spacey is Francis Underwood, a Democratic senator from the South who despite being promised a big position within the new presidential administration finds himself passed over for the job.  This doesn't sit too well with Underwood who sets out to do all that he can to enact revenge and better his position in the process.

What I truly enjoy about House of Cards is that it doesn't ever stoop to the lowest common denominator in any area.  Foul language is used when necessary, but not overly so.  Violence is depicted, but not in any graphic manner.  Sex and nudity sometimes make an appearance, but not to any exploitative degree.  Instead, the producers allow the story to naturally unfold rather than hit us over the head with "THIS IS NOT NETWORK TV!!!" like pay cable stations HBO or Showtime (or even fX) seem wont to do.  We're still being treated to a drama aimed squarely at thinking adults, but it's not risqué just because it "can be."

There are great performances across the board.  Spacey is fantastic.  I loved how they decided to have him speak directly to the camera at times allowing the audience to see the character's true personality amidst the façade he's putting on for those around him.  Robin Wright is also very good as Underwood's wife and I must say that I was truly shocked that her character Claire is given the weight and importance that this series grants her.  As the head of an environmental group, Claire isn't just a trophy wife and the tricky relationship that she shares with her husband is one of the reasons this show proves to be unique.

We're also given some great turns from Michael Kelly as Underwood's right-hand man, Kate Mara as an intrepid reporter, Corey Stall as a senator from Pennsylvania who is being manipulated unbeknown to him by Underwood, and Kristen Connolly as the PA senator's girlfriend/chief of staff.  Quite honestly, there wasn't a bad actor cast here from the top to the bottom.

I worry a little bit that this show will be able to sustain itself as I wonder just how many manipulative moves a character like Underwood can make without subjecting himself to the wrath of his fellow politicians.  I also question whether a surprising turn of events in episode ten was a too-much-too-soon moment for Underwood.  What he does isn't necessarily surprising given what we'd come to know about him, but it does seem like it may have come a tad early in the series.

Still, House of Cards has me rooting for the "bad" guy and the complex life he leads.  Part of me wishes the thirteen episode first season would've ended on a bit more of a cliffhanger note, but I'll still be pulled back in for season two which I'll likely binge watch over the course of three days much like I watched season one.

Movie Review - The Girl with the Dragon Tattoo

The Girl with the Dragon Tattoo (2011)

Starring Rooney Mara, Daniel Craig, Christopher Plummer, Robin Wright, and Stellan Skarsgård

Directed by David Fincher

Even though I watched the original The Girl with the Dragon Tattoo only a little over a year ago, I was rather surprised when I went back and looked at my original review because I don't remember liking it as much as I apparently did.  I think, unfortunately, the disappointments of the two subsequent Swedish flicks in the trilogy must have sullied my thoughts on the overall series because I certainly don't look back fondly on the saga as a whole.

That being said, David Fincher's remake falls into the category of "Completely Unnecessary."  It basically seems like a shot for shot retelling and although it's well acted and nice looking, I found myself bored since I'd seen this exact same story before.  Also, watching this tale unfold a second time made me realize that the three distinct storylines that the movie attempts to tell fail to combine and gel in a proper manner causing me to wonder why in the world they were told in the same movie to begin with.

I'm not going to rehash the summary here -- that can be found in the original review linked above -- except to say that this is a movie in search of which plot matters the most.  We've got shamed journalist Mikael Blomkvist (Daniel Craig) who has just lost a libel suit brought on by a Swedish corporate bigwig. He wants to go into hiding, but he's hired by an elderly retired man named Henrik Vanger (Christopher Plummer) to discover what happened to his niece Harriet who went missing over forty years ago.  Henrik suspects that someone in his family is to blame and he wants Blomkvist to get to the bottom of things.

Meanwhile, we're introduced to the incredibly rough-around-the-edges Lisbeth Salandar (Rooney Mara) whose jet black hair, pale skin, and multiple piercings help her to hide a horrible past.  Lacking in any type of people skills, Lisbeth spends her days as a hired hand hacking computers and unearthing personal information for big companies -- sort of a modern day private eye.  Lisbeth also finds herself having to deal with the fact that she's a ward of the state -- I mentioned that "horrible past" that is coming back to haunt her despite her efforts -- and she's forced to report to a new and nasty legal guardian who proves to be a handful for the young woman.

Alone, these stories may have worked fine as their own film, but combining these tales -- Mikael's libel suit, the mystery of Henrik's missing niece, and Lisbeth's life -- ultimately doesn't work.  The missing girl storyline is the heart of the story and when that ends (in a rather unsatisfying way, I might add) and the film still goes on for another 35 minutes, you've got a major problem.  

Fortunately, what this movie has going for it is a very nice performance from Rooney Mara.  Despite seemingly lacking any type of emotion and appearing almost Aspergers-like, Mara imbues a rawness into Lisbeth that is exciting to watch despite the character's seemingly outwardly monotonous dryness.  It also helps that Daniel Craig is much better than his counterpart in the Swedish version of this film and gives Mara something to play off of once their characers meet nearly 100-plus minutes into the movie.

The acting is the ultimate reason to watch this American version rather than the Swedish original because Rooney Mara and Daniel Craig really do elevate this to a higher level.  David Fincher does a fine job directing, but this film is rather straightforward in terms of visuals.  If anything, though, Fincher should have been able to find a way to better edit this thing down and get to the true crux of the tale instead of allowing it to meander as much as it does.

Admittedly, had I seen this remake first, I very well may have given it a higher rating, but having seen the original and seeing that this unnecessary redo does very little to fix the problems its predecessor, I can't help but give this the lower rating that I give it below.

The RyMickey Rating:  C

Movie Review - Moneyball

Moneyball (2011)

Starring Brad Pitt, Jonah Hill, and Philip Seymour Hoffman

Directed by Bennett Miller

Moneyball is a non-sports sports movie.  While we get glimpses of some moments on the baseball field during the Oakland A's 2002 season, the real crux of the movie happens behind the scenes in the clubhouse as general manager Billy Beane (Brad Pitt in a role he completely embodies) utilizes a decades-old statistical method of choosing players based on their on-base percentage rather than anything else and ends up crafting a baseball team that finds themselves in the running to win the World Series.

After an unsuccessful playoff run in 2001, Beane's squad is hit with the loss of three key players to three teams willing to pay the athletes boatloads of money, and the A's owner refuses to pony up any more money for Beane to entice the so-called 'top tier' players to Oakland -- as Billy says, "there are the rich teams, then there are the poor teams, then there's 50 feet of crap, and then there's us."  Desperate, Billy meets Peter Brand (Jonah Hill), a young Yale economics graduate who helps Beane use statistics in an attempt to build a cost-effective and, above all else, successful baseball team.

The whole flick was certainly intriguing and even though I follow the Phillies (a team which I'd rather not talk about in these weeks following their disappointing 2011 playoff run), I wasn't the least bit knowledgeable about this Oakland A's team.  Because of that, there was a bit of genuine suspense that built as the movie progressed and, thanks to a wonderful performance from Brad Pitt, viewers find themselves completely invested in the real-life "character" of Billy Beane.

Pitt plays Beane as a determined man -- he wants nothing more than for his baseball team to be as successful as possible.  But he's also an incredibly doubtful and nervous man, anxious to see if his new approach to the game will be successful, knowing full well that if he fails, he's out of a job.  Having bailed on a full scholarship to college in order to play for the Mets as a young man (which proved to be a quick and unsuccessful venture), he has nothing else to fall back on and Pitt is incredibly adept at relaying that sense of uncertainty and unease.

Jonah Hill as the numbers cruncher Brand and Philip Seymour Hoffman as the A's reluctant and dismissive coach Art Howe both find themselves more than holding their own with Pitt.  This is certainly Hill's best role yet (although that's a bit of faint praise for the heretofore comic actor), although I will say I'm not quite sure where the Oscar buzz for him comes in (although it could very well be that the Supporting Actor category appears incredibly weak at this stage in the game).  Also, nice work from Parks and Recreations' Chris Pratt as a player given a second lease on the game by Beane and the young Kerris Dorsey as Beane's daughter who helps us see the more "human" side of the GM.

While Moneyball is absolutely a good film, there's a lack of passion that is necessary to make a "great" one.  Still, kudos to director Bennett Miller and writers Steve Zaillian and Aaron Sorkin for somehow crafting an interesting flick that's based around baseball statistics.  The fact that they managed to create high levels of tension considering the subject matter is a credit to their talent.

The RyMickey Rating:  B+

Movie Review - The Conspirator

The Conspirator (2011)

Starring James McAvoy, Robin Wright, Kevin Kline, Tom Wilkinson, Evan Rachel Wood, Justin Long, Johnny Simmons, and Alexis Bledel 

Directed by Robert Redford

A supposed metaphor for justice in this post-9/11 society, Robert Redford's The Conspirator never once manages to be anything but dull.  While Redford culls some confident performances from James McAvoy and Robin Wright, neither of the two actors is able to lift this interesting (and little told) story into anything other than a stodgy and stuffy period piece.

When Abraham Lincoln is assassinated, it is discovered that John Wilkes Booth was only one of several people who had conspired to commit the crime.  Boarding house owner Mary Surratt (Wright) is one of those accused conspirators and she is put on trial at a military tribunal.  Her lawyer is fresh-faced Frederick Aiken (McAvoy), a young 27-year old former Union soldier, assigned the case despite his misgivings and distrust of Surratt.  As the trial goes on, Aiken rightfully begins to believe that the government is doing whatever it takes (true justice be damned) to convict Surratt and quell the fears of the American public who are supposedly in turmoil after the assassination.

As I stated above, the story is an interesting piece of American history that isn't often told.  (Although, that being said, considering Redford's admitted attempt to mirror what he feels are misdeeds going on with post-9/11 trials, I'm unsure how accurate of a portrayal this really is.)  However, everything about this film just feels staged.  The sets and lighting seem unnatural.  With the exception of McAvoy and Wright, the acting seems over-the-top and scene-chewing.  It certainly doesn't help matters that the pacing is slow as molasses either.  There's a reason people often aren't fans of period pieces and this dreary, labored movie is an example of why that's the case.

The RyMickey Rating:  D+

Movie Review - A Christmas Carol 3D (2009)

"Starring" Jim Carrey, Gary Oldman, Robin Wright Penn, Colin Firth, Carey Elwes, and Bob Hoskins
Directed by Robert Zemeckis

Everyone knows the story of Charles Dickens' A Christmas Carol. It's been told by the Muppets, by Mickey Mouse, and by Captain Jean-Luc Picard. Did we really need another re-telling? After seeing this new version of the tale, my answer to that is yes, as Robert Zemeckis has crafted an eerie tale that is definitely not kid-friendly and has inspired me to seek out Dickens' original tale.

I'm not gonna go through the story because every knows it, so instead let's just get to my thoughts.

The computer/image capture on display here is much better than we've seen in The Polar Express and Beowulf (the former of the two I'll be watching again soon as part of an upcoming new month-long blog feature...details forthcoming...I know...such suspense...). I'm still not 100% sold on the technique, though. It's obvious that I'm watching an animated movie, so why do I want the characters to look realistic? They can look fake...it's okay. That being said, I really felt like this film takes the image capture leaps and bounds beyond Zemeckis' two efforts I mentioned above. There's actually some emotion in the eyes which was seriously lacking before.

There were scenes in this that were quite cool...several, in fact. I really don't want to reveal them so as to spoil them, but I'll discuss one in particular. There's a scene with the Ghost of Christmas Past in which Scrooge goes back to see the Young Man version of himself as his ladyfriend decides to end their relationship. The way Zemeckis "films" the scene really packs an emotional punch...utilizing a long shot with a "moving" camera, it certainly felt real. There were several other scenes that were "cooler" than that, but this scene in particular was surprisingly powerful. It's unfortunate that in addition to these nifty scenes, there are two or three scenes that just bring the movie to a halt, appearing completely static and dragging the movie down a bit.

The flick certainly isn't kid-friendly. No funny jokes, no talking animals. This is dark, without a doubt. And I really dug it. There were some moderately scary moments here...not horror scary, but certainly some edgy moments.

As far as the 3D goes, it's a positive here. The film looked rich, layered, and deep. While not the best 3D I've seen this year (that'd shockingly be G-Force), this is the best 3D in an animated film I've seen for sure.

The RyMickey Rating: B+