The Walk

Robert Zemeckis, 2015

IMDB

2/5

Robert Zemeckis has had a long career of directing unique / interesting films that have a lasting impact. Back to the Future, Who Framed Roger Rabbit, Death Becomes Her, Forrest Gump, Contact, Cast Away.. the list goes on. So much of his work is open for multiple viewings. So for me personally, he’s someone who I will see everything he does.

His latest work is a biopic of famed wire-walker Philippe Petit. Petit gained recognition for his daring stunt when he walked on wire between the two Twin Towers shortly after their construction in 1974. The stunt was the focus of the popular 2008 documentary Man on Wire. So going into the film you already know that it’s going to be a period piece / computer-generated simulation of the event, seeing as virtually everyone on Earth is aware that the Towers are no longer in existence. The casting of Joseph Gordon Levitt is welcomed, seeing as he is one of the more consistent modern working actors. 

But The Walk isn’t able to maintain that lasting impression that Zemeckis’ other films do. It’s a CGI-scape filled poor accents and not enough substance. First off, the Petit character comes off a purely arrogant, selfish man who doesn’t appreciate the people around him. One of which is girlfriend Annie (Charlotte Le Bon) who is nothing more than a extension of Petit’s huge ego. She, like the other partners, are barely allowed to show any identity. Petit is a person with tunnel vision. He cares about nothing more than walking the wire and making the front page. So you are forced to spend a great deal of time with someone who is really not all that like-able and challenging to become invested in. The only redeeming qualities of Petit’s character is really Levitt’s natural charm that sneaks through. 

It becomes obvious that the only real reward of the film is going to be his inevitable wire-walk in the end. At that point it’s just frankly hard to believe that Levitt is suspended above anything but a green screen. And his defiant back and forth across the wire while the police wait anxiously on both buildings actually feels dragged out and aggravating. Not to take away from the quality of the effects. It's quite amazing that buildings like the Twin Towers can be so beautifully reconstructed on film. It all looks real, no doubt about that. The cars below, the 1970's Manhattan skyline, the ant-sized cars slowly moving 100 stories below. Maybe it's the fact that the buildings themselves cause such an visceral reaction because of their historical importance, that it's difficult to the trick the mind into believing what you are seeing - specifically with those buildings. It’s understandable that Zemeckis would be interested in making the picture because it’s certainly an interesting story. But maybe it’s better preserved in the documentary category.

American Hustle

David O. Russell, 2013

Netflix

3/5

Russell's latest work is actually a difficult film to explain to someone when they ask you to describe the plot. "Okay.. so there's this con-man and his lover who cheat desperate people out of black market loans who then get caught and have to assist the FBI in taking down some politicians while also at the same time try to handcuff the investigation to the mob by promising Middle Eastern financial backing in rebuilding the Atlantic City casinos. You got all of that right?"

Scorcese gave his keys to Russell and told him to bring it back in one piece. He did, and he took it for a nice long spin in this con-artist crime drama/gangster story/quirky comedy/period piece. The nod to Scorcese is blatant: the narrative, the tracking shots, MOS sequences set to music, the gangster motif, the Big Apple backdrop. The casting office even called for a couple of Boardwalk Empire's guys. But it's also very David O. Russell. At times the film solicits laughter reminiscent of his comedic style in Flirting with Disaster. Russell puts on his Sounds of the 70's compilation and plays with one of his signature elements of taking that classic song you've heard a million times and putting a visual component in there that makes it seem like you're hearing it differently. 

Christian Bale morphs into his role as chubby con-artist (hair piece included) Irving Rosenfeld and continues to prove that he's one of the best actors working today. If his character didn't possess the nuance that Bale was able to bring to the role, it just wouldn't work. Jennifer Lawrence takes her already great performance in Silver Linings Playbook and goes off her meds, taking it to another level as a vindictive hot mess. Her distorted reality from being confined at home. The manipulative tendencies. Seething jealousy. Bradley Cooper's character is similar to his character in The Place Beyond the Pines in the sense that he's a government worker trying to make his mark. He's always been overlooked. He can almost smell success, it's so close. He wants it so badly. Amy Adams plays the classy Sydney Prosser, who wants nice things and is willing to trade her morals for companionship. Renner's performance as Camden Mayor Carmine Polito is more subtle but it has a certain plangency to it. You know whats going to happen to him. And it should bother you even after the film is over. Some surprising faces even turn up - one of which is un-credited.

Enough can't be said about the performances in the film. The cast deserves much praise, as well as Russell for being able to collaborate with such a pool of talent. It's especially impressive to discover that 20% of the film was improvised which again speaks well for the Russell's confidence. But outside of the great performances, the film feels too elaborate. While Russell's The Fighter and The Silver Linings Playbook had a more youthful feel -  American Hustle seems to be a film made for the older crowd. Probably the crowd who grew up the 1970's. It's surely a subjective movie (aren't they all), likely to be lauded by many and not so much by others. But either way you're bound to feel satisfaction on some level because the acting gives you your money's worth an hour into the picture. 

Argo

Ben Affleck, 2012

4/5

Past Oscar-winner Ben Affleck directs this Period piece about the 1979 Iranian hostage crisis. After the United States grants asylum to cancer stricken leader Shah Mohammad Reza Pahlavi, the streets of Iran erupt in chaos. Demonstrators storm the U.S. embassy demanding the U.S. return the Shah. Most of the State Department workers are held hostage but 6 manage to escape to the Canadian Ambassador's secured home. Without a lot options, they decide to send Tony Mendez (Affleck) into Iran as a Canadian filmmaker who will be scouting locations with his 6 cast-mates for a Sci-Fi film titled Argo. This will give him an opportunity to get the hostages out of the country with fake Canadian passports.

Affleck's film-making abilities really shine in this taut Thriller, with a lot of help from Cinematographer Rodrigo Prieto (Babel, 21 Grams, Brokeback Mountain). It's a very nice looking film that plays on tension and shifting viewpoints to keep things moving along. Remarkable Cinematography combined with a Time-appropriate soundtrack, the transitional shots with the 70's rock (such as Van Halen's "Dance the Night Away" playing as actors in costume prepare for a table read) are well-placed and give you a break from the tensity.

I've always said that Affleck is better behind the camera than in front of it, but he is effective as Tony Mendez because its a character naturally calm and collected that really doesn't call for a lot of range. Some of the tense moments are reminiscent of fellow political thriller Zero Dark Thirty, but Argo ultimately stands out on its own. Those who may be skeptical that the story itself may feel dull will be surprised. Ample time spent on the protests, to the State Department contemplating their next move, to the Hollywood prep, and then ultimately putting the mission into action. The multiple perspectives only add to the detail. You're seeing things through the eyes of the Iranians, hostages, Argo production staff, State Department, and the American citizens. All of which come well-placed with adequate time spent with each.

Probably my favorite scene in the film is the scene with the VW bus moving through the crowd. It's so tense and well shot; you are literally sitting in the vehicle with them with your heart beating in unison as the Iranian hands pound on the glass windows in a symphony of anger. Some of the comedic elements also give you a nice break as well. Alan Arkin as Lester Siegel, the vocal foul-mouthed producer, and John Goodman as John Chambers, the talented Hollywood make-up artist. The clouds of cigarette smoke and bad eyeglass frames only add to the authenticity. Keep your eyes peeled at the end credits for photographs of the actual people involved with their Hollywood counterparts which was very interesting to see. "Argo f$%# yourself"!