Tag Archives: Bradley Cooper

No Absolutes

American Sniper

by George Wolf

Clint Eastwood has the reputation of a low maintenance, “let’s not overthink this” type of director. Sometimes that’s much too apparent, with films lacking in structure, passion and detail.

American Sniper is not one of those films.

This one is tense, heartfelt, wise and weighty, driven by a revelatory lead performance and crafted by a director deeply invested in doing justice to his subject.

It’s based on the autobiography of Chris Kyle, the Navy SEAL credited with being “the deadliest sniper in American history.” The very nature of the story is rife with opportunities for manipulation, be them jingoistic or judgmental, but credit Eastwood and screenwriter Jason Hall with sidestepping them all.

They grab you by the throat with a breathless opening, then expertly work alternating periods of deafening brutality and quiet stillness. In fact, the silence in American Sniper could be easily be regarded as part of the original score, as it is utilized just as effectively as any stirring music.

As Kyle, Bradley Cooper is astonishing and a well-deserved Oscar nominee. Anyone who still thinks he’s just a pretty boy needs to put down People magazine and pay attention to the career Cooper’s been putting together. He’s turned in one stellar, varied performance after another the last few years, and here he commands the screen like never before.

More than just adding weight or adopting Kyle’s Texas drawl, Cooper completely embodies Kyle from the inside out. We see his early determination to fight America’s enemies just as sincerely as we feel the paradox of a man ravaged by the battlefield who can’t feel at home anywhere else. Eastwood smartly gives Cooper many tight close ups and the actor doesn’t flinch, letting his face speak volumes on duty and conflict.

Are there sad ironies in the fact that many who were driven to military service by the events of 9/11 were sent to Iraq? Of course, but this is not the film to explore them, or appease those who will be satisfied only if Kyle is painted as a merciless monster or, conversely, an untouchable hero.  By avoiding these absolutes, American Sniper becomes a gripping look at the other side of The Hurt Locker. It’s an intensely personal story that manages to feel like part of America’s very fabric without selling its soul to do so.

 

Verdict-4-0-Stars

 

Triple Feature For Your Queue

Usually Tuesday is the day we recommend a new DVD release, and pair that with a backlist title you might also enjoy. But since there are three excellent films being released today, we decided to just stick with new releases and highly recommend each of the following.

MudMatthew McConaughey continues to impress in writer/director Jeff Nichols’s follow up to the brilliant Take Shelter. McConaughey plays a romantic fugitive befriended by two young boys. It’s a lyrical, bittersweet coming of age tale and an astonishing piece of storytelling.

The Place Beyond the PinesDerek Cianfrance’s multigenerational story of fathers, sons, and unintended consequences a cast whose performances are even better than their looks. Ryan Gosling, Bradley Cooper and Eva Mendes are all terrific in this twisty crime thriller.

To the WonderTerrence Malick returns to the screen with a cinematic poem to relationships, faith, isolation and love. Abstract, challenging, lyrical and gorgeous, Malick’s latest is a rumination on spiritual fulfillment.

Fewer Tigers, More Zach

by George Wolf

 

Yes, Virginia, there is a hangover in The Hangover Part III, and it’s a funny one, but the madcap adventure-filled road that leads to it is a bit uneven.

Following a bona fide classic like The Hangover was always a tough assignment. The crazy freshness that film brought to the what-happened-last-night-formula just can’t be cloned, and the attempt to do just that in part 2 came off as a disappointing inside joke. The third installment gets some of the original mojo back by giving the Wolfpack a new reason get their Vegas on.

That reason is one Leslie Chow (Ken Jeong), whose trail of enemies includes Mr. Marshall (John Goodman), a vengeful crime boss that eagle-eared moviegoers might remember from a quick mention in part one.

Seems Marshall wants the millions that Chow stole from him, so he kidnaps the Wolfpack, threatening to kill (who else?) Doug (Justin Bartha) unless Phil (Bradley Cooper), Stu (Ed Helms) and Alan (Zach Galifianakis) can bring their old pal in to face the music.

Director Todd Phillips returns, co- writing the script with his part 2 collaborator Craig Mazin. Together, they craft a tamer, quieter romp, replacing bathroom tigers and hooker weddings with healthy doses of Galifianakis and Jeong.

That’s not necessarily a bad thing. Those guys don’t need much help to be funny, and Phillips may have realized they were his best chance at newly found laughs. The reason  part 3’s “morning after” scene works so well is because it runs during the credits, sending the trilogy off with a quick reminder of the fun we had discovering the first film. Another entire episode of retracing the Wolfpack’s steps, though, would be pointless, so instead we get a little heist adventure with a side of zany.

There are slow spots, to be sure, but there are laughs as well, maybe just enough to erase that bad hangover from part 2.

 

 

Verdict-2-5-Stars

 

 

 

 

For Your Queue: Everybody loves J-Law

At long last, Silver Lining’s Playbook David O. Russell’s story of love in a hyper-diagnosed, over-medicated, label-dependent society – is available on DVD. Bradley Cooper plays a damaged man returning home to Philly from an institutionalized stint. He returns to a football obsessed father with undiagnosed OCD (Robert DeNiro – and he’s actually acting, everybody!), and his own unrelenting determination to win back his estranged wife. And then he meets an unbalanced, brooding, unquestionably hot neighbor (Oscar winner Jennifer Lawrence). Both leads are fantastic, buoyed by an excellent supporting cast and a screenplay that bends to enough Hollywood tropes to be a crowd pleaser but subverts enough to be a real surprise.

We’re not going to pretend we championed Lawrence since her TV days on the Bill Envall show, but with Winter’s Bone, she impressed us and everyone else who saw her gritty, Oscar-nominated performance. As a young woman in the Ozarks wading through family secrets while searching for her father, Lawrence is never less than frighteningly real. She is surrounded by an outstanding supporting cast, most notably John Hawkes and Dale Dickie. Director/co-writer Debra Granick crafts a latter day Deliverance that grabs you early, not letting go until you feel that you’ve survived an experience, not merely seen a movie.

Beyond the Pines Live Handsome Fathers and Sons

By Hope Madden

Sure, The Place Beyond the Pines is a bank robber movie starring three weirdly attractive A-listers (Ryan Gosling, Eva Mendes, Bradley Cooper). But this layered, complex film about men and the sins they pass on hopes to be a lot more than that.

What co-writer/director Derek Cianfrance (Blue Valentine) has crafted is a generational drama about fathers, sons and consequences.

The Place Beyond the Pines tells its story in three parts. Each part introduces us to a new, young male lead as he makes a life-altering decision. Their individual tales are aided immeasurably by great supporting turns from Mendes and Ben Mendelsohn (making a name for himself playing the guy our hero would be better off not knowing), but Cianfrance’s interest is in the young men – their choices, how they were affected by their fathers, and how they will affect their sons.

Act 1 follows Gosling’s stunt motorcyclist Luke as he tries to claim the family he didn’t know he had. We move to Cooper’s rookie cop in the second act, who walks the compromised line between justice and ambition. Act 3 brings us full circle.

Cianfrance’s lens casts a bittersweet small town spell, and his actors – an exceptional Gosling in particular – develop fully formed, flawed, compelling characters. The filmmaker’s smart script and patient camera give the talent the time and content they need to mine the depths of each character. Unfortunately, this borderline Greek tragedy just loses steam.

Whether Parts 2 and 3 feel like middling efforts because Gosling’s smolder is missing or because Cianfrance’s interest lies elsewhere is hard to tell. Taken on their own, the second and third acts amount to a solid family drama; compared with the livewire of Act 1, though, they let you down just a bit.

It feels like Cianfrance just bit off more than he could chew, but it’s hard to knock him for ambition. Pines veers as wildly as Handsome Luke’s motorcycle, and it doesn’t always find its way back. Cianfrance tries too hard, covers too much, but he does it with such passion and such cinematic skill that he can be forgiven.

Verdict-3-5-Stars