Review: WINTER'S BONE

Sometimes a film comes along that is so highly praised that it can’t be ignored. Such is the case with Winter’s Bone, a independent drama that is being called “graceful” and “chilling” by critics across the country.

Winter’s Bone centers on Ree Dolly (Jennifer Lawrence), a 17-year-old Ozark girl who is the sole caretaker for her two younger siblings due to a mother with disabling depression and an absentee father who is in and out of jail because of his involvement with Methamphetamine. Already struggling to make ends meet, she is informed by the town sheriff that her father has offered up their house for his bond and if doesn’t show up to his court date the following week, the family will be forced to leave. Ree sets off to find him, meeting up with bad company along the way. To say that Lawrence’s performance is good would be an insult and an understatement. Lawrence knocks it out of the park as Ree, using strong facial expressions and silence to define her character. John Hawkes also does an amazing job playing Ree’s uncle, Teardrop, a crank addict like his brother whose relationship with his family proves to be complicated. The film’s Ozark setting is breathtaking as well, displayed beautifully by the cinematography.

The biggest problem I have with Winter’s Bone is that its emotional core isn’t necessarily all there. By that I mean that I struggle to feel much empathy for Ree because the director, Debra Granik, puts so much effort into trying to make her audience feel sorry for Ree’s rough conditions. It ultimately feels far too forced. Granik should have focused more on her protagonist’s transformation, which fell flat. Teardrop’s transformation was much more palpable, making him the more interesting character in the end.

To be blunt, Winter’s Bone is this year’s Precious. Its main goal is to garner acclaim and be nominated for awards come January. You should see it for Lawrence and Hawkes’ performances, but wait for the DVD. I’ll be interested to see if Granik succeeds in hooking the Academy with this bait.

Rating: 3/5

Review: GREENBERG

In an age where big budget blockbusters dominate the box office and 3D is the norm, it’s hard to believe that less can still be more. However, there still exists a subculture of movie lovers that firmly believe just that and Noah Baumbach’s newest film, Greenberg, proves it to be true.

Greenberg is a slice of life film about Rodger Greenberg (Ben Stiller), a 40-year-old looking to “do nothing for a while” while he housesits for his brother in Los Angeles. He reunites with old band members and an ex-girlfriend, but the core of the film is the awkward relationship he begins with his brother’s 26-year-old assistant, Florence (Greta Gerwig). The performances are outstanding across the board. Stiller takes on Greenberg with such finesse, interacting with the people around him in real, meaningful ways and Gerwig gives Florence a sweet optimism, despite her hardships. Together, they shine. Rhys Ifans and Jennifer Jason Leigh are also notable as Ivan, Rodger’s old bandmate, and Beth, Rodger’s ex-girlfriend, respectively. The performances behind the scenes are just as excellent as the ones on screen. Noah Baumbach and Jennifer Jason Leigh’s screenplay is nearly flawless and the cinematography brings it to life in a way that allows the audience to experience the film on a deeper level. The richness of each shot, especially during moments of silence, is tangible.

Though I am absolutely taken with Greenberg, I do not believe that it’s a film for everyone. Rodger Greenberg isn’t exactly the most likable character and though that makes for a more beautiful transformation, plenty of viewers will not be sympathetic. I also cannot guarantee that this film will entertain everyone with a tone that is so quiet and restrained.

Greenberg is my favorite of Baumbach’s work to date and one of the best films I have seen this year. If you enjoy films with the depth of a rich novel, I highly recommend you see this gem. Better yet, experience it.

Rating: 5/5

Review: CROPSEY

Being a fan of both documentaries and horror films, I was eager to see what Cropsey had to offer. With a poster tagline that reads “the truth is terrifying” and a trailer that speaks of an urban legend come to life, it promised to be raw, haunting, and right up my alley. However, I left the theater feeling like the truth is bland rather than terrifying.

Cropsey, written and directed by Barbara Brancaccio and Joshua Zeman, focuses on a popular urban legend in their hometown of Staten Island, NY. Cropsey was believed to be an escaped mental patient who roamed the tunnel systems and forests of the island at night, kidnapping children and murdering them with a number of rumored weapons. The story circulated as a way to keep the youth out of the abandoned Willowbrook Mental Institution, but when children actually started disappearing, the line between legend and fact became blurred. The story itself has the potential to be interesting. The suspected killer, Andre Rand, is a fascinating character and the profiles of the victims-who were all disabled in some capacity-and the effects of their disappearances on the community are gripping. It’s a shame the filmmakers didn’t choose to hone in on what makes this case worth learning about.

Ultimately, Cropsey came off as being an extended Friday night special suited for MSNBC. Brancaccio and Zeman spent far too much time and energy on Rand’s second trial for a child’s murder that had finally turned up enough evidence to possibly have him convicted. The only elements that actually made this film a documentary rather than a television special were the overbearing soundtrack and poorly executed jump-scare attempts that occurred when the filmmakers roamed the dark, empty Willowbrook. If Cropsey had been more of a psychological profile on Andre Rand or paid more attention to the efforts of the Staten Island citizens still searching for the missing children’s bodies, it would have been far more compelling and coherent.

Unfortunately, this documentary failed to do the story of Cropsey justice. Wait until it actually does appear on MSNBC and hope that it’s given the feature film treatment with a stronger focus and more creative forces behind it.

Rating: 2.5/5

Review: SCOTT PILGRIM VS. THE WORLD

Going in to Scott Pilgrim vs. the World, I didn’t really know what to expect. I knew it was based on an acclaimed comic book series, written and directed by a personal favorite, Edgar Wright (whose past works include Shaun of the Dead and Hot Fuzz), and had what appeared to be an astounding cast. However, it wasn’t until the Universal Studios opening appeared on the screen, revamped to match the video game aesthetic prevalent throughout the movie, that I knew I was in for something great.

Scott Pilgrim vs. the World follows its 22 year old title character (Michael Cera) as he earns the right to date the girl of his dreams, Ramona Flowers (Mary Elizabeth Winstead), by fighting and defeating her seven evil exes. Cera plays the perfect Scott Pilgrim, trading in his usual schtick for a more arrogant performance. His motivations and desires are well developed and the journey he takes leaves the audience satisfied. As for the supporting cast, some shine more than others but the interactions that take place are all entertaining while remaining purposeful. Kieran Culkin steals the show as Scott’s gay roommate, Wallace Wells, providing the wittiest dialog that showcases Wright’s talent as a screenwriter (seriously, stop reading this review right now and go watch Spaced: The Complete Series to see Wright’s work at its finest).

Though I had a blast with this movie, it is by no means perfect. The pacing of the storyline is thrown off by the number of exes Scott has to battle, leaving the last thirty minutes crammed and rushed. By the time Scott’s showdown with Ramona’s latest ex, Gideon (Jason Schwartzman), rolled around, I was more than ready for the movie to wrap up. I feel like four exes would have been a happy compromise, providing enough action to still be satisfying yet leaving room for more of those character moments Wright constructs so well.

It’s a crying shame that Scott Pilgrim vs. the World hasn’t had impressive box office returns. Please, I beg you, go give this movie your money. It’s sweet, it’s charming, it’s funny; it’s got something for everyone in its target audience.

Rating: 4/5

Review: DINNER FOR SCHMUCKS

I yearn for the days when Alvy Singer’s neuroses wooed Annie Hall, when Pee-wee Herman feuded with Francis Buxton, and when Wayne Campell and Garth Algar rocked cable access television. Comedies sure aren’t what they used to be and Dinner For Schmucks proves this to be true.

Dinner For Schmucks centers on Tim Conrad (Paul Rudd), an executive fighting for a raise within his company. He has nearly nabbed the position with his plan to reel in a multi-million dollar client, but there is one more hurdle to clear. He must attend a company “dinner for champions,” in which each attendee brings an extraordinary person with a unique talent. However, the champions are there to be made fun of, unbeknownst to them, and the biggest “schmuck” of the evening wins a trophy. If Tim’s guest wins, he gets the job. At first, Tim plans to avoid the dinner based on his moral standings, but then he meets Barry (Steve Carell), an IRS worker who makes dioramas based around in tact, dead mice that he collects in his spare time. Tim changes his mind, invites Barry to dinner, and 24 hours of chaos ensues.

Though this movie had my whole theater in stitches, I couldn’t manage to get on board with it. I offered up some laughs for Kieran (Jemaine Clement), the artist Tim’s girlfriend works for, and the interactions between Barry and his boss, Therman (Zach Galifianakis), but the whole plot is so over-the-top that I found myself frustrated rather than entertained. Neither the characters nor their actions are believable (there is no way Barry can wreak the havoc that he does yet work for the IRS) and their relationships to each other are thread thin at best. The script is so weak that it is really what the actors bring to their characters through ridiculous sounds and movements that provide comedy.

My opinion? Wait for the DVD. Better yet, wait for it to show up on cable. And sit tight; The Hangover 2 isn’t far off.

Rating: 1.5/5