Review: THE TOWN

A crime drama must be handled delicately. An overabundance of action can cheapen it; too many lines of dialog can make it drag. A balance must be found in order for it to satisfy. And if balance can’t be found, are nuns with machine guns enough?

After 2007‘s Gone Baby Gone, Ben Affleck is back with his sophomore venture, The Town. Affleck steps in front of the camera this time, playing Doug, a career bank robber from the rough neighborhood of Charlestown in Boston. He and his long-time friends-Jem (Jeremy Renner), Dez (Owen Burke), and Gloansy (Slaine)-hit a Cambridge bank and end up taking the manager, Claire (Rebecca Hall), hostage. Though they free her unscathed, Jem confiscates her driver’s license and employs Doug to follow her, making sure she doesn’t remember any details that will compromise their life of crime. Doug and Claire begin dating and Claire divulges her memories of the robbery to him, along with the fact that she has been in contact with the FBI agent handling the case, Frawley (Jon Hamm). With Jem planning more robberies, Frawley hot on his trail, and his feelings for Claire progressing, Doug finds himself caught in a game of cat and mouse when all he wants is a fresh start in a new place.

The tone of The Town is set by its well-paced plot and suspenseful action sequences. Affleck fluidly introduces characters and situations that let his audience know just what kind of hell Charlestown is, why anyone would want to flee but few feel like they can. Scenes packed with rapid gunfire are balanced by ones that are more dialog-heavy, keeping this crime drama on point with its genre. As for performances, Jeremy Renner takes the top prize with his turn as Jem. He clearly commits himself to the role, never losing sight of Jem’s motivations and desires. These natural, effortless elements give this film its edge.

Despite its strong, compelling beginning, The Town fizzle out due to how muddled it becomes. The plot is on point, but the writing leaves much to be desired. Seemingly important characters introduced in the first half-hour, most namely Krista (Blake Lively) and Fergie (Pete Postlethwaite), do not reappear in any meaningful way until the final 45 minutes, leaving them underdeveloped. An excessive amount of time is spent focusing on the relationship between Doug and Claire, a relationship that never really proves itself to be genuine. Doug spews out hokey line after hokey line trying to win over his damsel in distress, leading the film to a weak, sour ending. The audience is left questioning far too much.

The Town managed to win me over with its thrilling robberies and the men behind them, however, it left me wishing for a consistent script and believable bonds between characters. The flaws are apparent, but it still succeeds.

Rating: 3.5/5

Review: THE KIDS ARE ALL RIGHT

In light of the current state of gay rights in America, it is no wonder that Hollywood has boldly chosen to explore same-sex relationships. The Kids Are All Right takes on the topic by wrapping it in a pretty, indie package and delivering it to audiences in hopes of striking an emotional chord.

The Kids Are All Right aims to dissect an unconventional family as they come to terms with changing circumstances. Nic (Annette Benning) and Jules (Julianne Moore) are a lesbian couple with two children, Joni (Mia Wasikowska) and Laser (Josh Hutcherson), from the same sperm donor. At her brother’s request, when Joni turns 18, she contacts the sperm bank in order to find their biological father. The man in question is Paul (Mark Ruffalo), a laid-back restauranteur happily living the single life. After their initial meeting, Joni and Laser decide to involve Paul in their lives, thus introducing him to their mothers and upsetting the family dynamic.

It should come as no surprise that Benning and Moore steal the show. Both actresses get what it is to be these two very different women in a long term relationship, struggling to retain their individualities without losing sight of their love for one another. They are inarguably the heart of this film. Central female performances aside, the overall aesthetic of The Kids Are All Right is captivating, marked by vivid colors and lush scenery. Los Angeles is virtually transformed by the cinematographer’s vision. Wide shots from Paul’s organic garden overlooking a smog-free city are hopeful but no doubt enhance the hip, modern tone of the film, therefore achieving their purpose.

For as rich and fleshed out as the roles of Nic and Jules are, the supporting cast isn’t given much to do in front of the camera. Wasikowska, Hutcherson, and Ruffalo all do the best that they can under the circumstances, but the fact of the matter is that all three are merely props aiding in the development of the film’s true stars. Joni and Laser dip in and out and Paul essentially falls off after causing conflict. Though I ate up every last minute of screen time given to Benning and Moore, I ultimately felt somewhat mislead.

See this one for the show-stopping women at the heart of it (especially Benning, who has received enough Oscar buzz to practically ensure her a nomination), but don’t be surprised if you find it a bit overconfident.

Rating: 4/5

Review: CYRUS

Very few film experiences will compare to the one I had when I first watched The Puffy Chair. One of the mumblecore movement’s most seminal texts, it introduced me to Jay and Mark Duplass, two brothers who set out to make real movies about real people, budget or no budget. In the case of Cyrus, their latest endeavor, budget is involved for the first time but the film does not fail to deliver heart.

In typical mumblecore fashion, Cyrus takes a painfully realistic look at relationships and their complications. Specifically, the film tells the story of John (John C. Reilly), a divorcee of seven years, as he begins a romance with Molly (Marisa Tomei). After a couple of hot and heavy dates, John decides to follow Molly home to see why she will not stay the night with him. The reason? Cyrus (Jonah Hill), her 21-year-old son who hasn’t yet flown the coop or seen his mom date. What ensues is a humorous rivalry between John and Cyrus and a sweet account of what it takes to accept people as they are.

Jay and Mark Duplass know how to write characters in true-to-life situations and Cyrus is no exception. With a small cast and tight focus, Rielly, Tomei, and Hill are given ample room to bring their own touches to their characters while still remaining true to the vision at hand. Rielly’s inflections, Tomei’s facial expressions, and Hill’s comedic presence have all been seen and heard before, but under the Duplass brothers’ supervision, they feel new again.

As Jay and Mark’s first bigger budget film, Cyrus does a fairly good job at finding a balance between mumblecore and mainstream. However, no matter how much I respect the integrity brought forth in the performances, I can’t help but believe that this film would have shined more brightly with at least one unknown actor in it. One of my favorite elements of mumblecore is the use of unfamiliar faces. That divide between movie star and moviegoer ceases to exist; the experience feels more authentic. My ultimate worry is that the more well-known the Duplass brothers become, the less present their style will be. I suppose only time will tell.

Cyrus ultimately proves itself to be a warm story with relatable characters. Despite my concerns for future Duplass films, I know that heart will always be palpable.

Rating: 4/5

Review: MACHETE

To me, nothing says a good time at the movies like gory camp. I need explosions, decapitation, and sexually exploited hot chicks just as much as I need Oscar-worthy monologues. So, when I heard of Robert Rodriguez’s plan to turn his trailer for Machete into a feature-length film, I knew I would be in for a treat.

Machete is a revenge story that follows its title character (Danny Trejo), a former Federale, from Mexico to Texas after he runs into some trouble with a drug lord (Steven Seagal). As an illegal immigrant, he has very few opportunities to make money until he is hired by a man named Michael Booth (Jeff Fahey) to assassinate Senator McLaughlin (Robert De Niro), an ultra conservative politician whose campaign rests on the promise to keep immigrants from crossing the border by building an electric fence. Machete accepts the $150,000 job and gifts the money to Luz (Michelle Rodriguez), a taco truck owner working to secure illegal immigrants in Texas. When the time comes to off McLaughlin, another sniper hits the senator instead, framing Machete. With the help of Luz, Agent Sartana Rivera (Jessica Alba), Padre (Cheech Marin), and a slew of immigrants, Machete sets out on a mission to take down Booth and his conspirators. What I appreciate most about this film is that it is completely self-aware, hitting the mark with its trashy costumes, slapstick violence, and pulpy score. Never once does it try to take itself seriously. Rodriguez and co-director Ethan Maniquis nail it with their cast as well (Lindsey Lohan as a promiscuous lush seeking vengeance in a nun costume, anyone?), which only adds to Rodriguez’s trademark stylized vision.

Though Machete accomplishes what it sets out to, it is held back by its frivolous subplots. I found myself wanting less story and more bloody dismemberment to enhance the inherently campy nature. By the final showdown, the film’s flare turns stale and feels forced, causing the audience to start checking the time. Machete ultimately exhausts itself.

If you’ve been looking forward to checking out Rodriguez’s newest, don’t hesitate. However, if watching human intestines be used as a rope to rappel down a building isn’t your idea of fun, you’re better off staying home.

Rating: 3/5