The Bling Ring

Sofia Coppola, 2013


3/5

Based on a true story that was profiled in a Vanity Fair article, a group of L.A. teens decide to burglarize the homes of the celebrities they are obsessed with in an effort to live the lavish lifestyles that they lead.

Coppola has always been held to a high standard given the impact that her father has had on the world of cinema. But she's clearly carved out a niche, and separated herself from the long dramatic pieces that Francis has created. Her films tend to be more stylistic and poppy, distinct and energetic. Bling Ring certainly fits into her typical style. Coppola, clearly fascinated by the Vanity Fair piece, wanted to paint the picture of the TMZ-culture and the shallow kids looking for thrills. The kids themselves appear quite numb in the film. When they have the valuable jewelry in their hands or the scarves around their necks, there is still a very obvious sense of emptiness. Without a doubt there is a void they are all trying to fill. It's not a story of the haves and have nots, but more of the haves and have enoughs. These kids are not destitute, as shown early on with Chloe (Claire Julien) driving up the Pacific Coast highway in her Lexus SUV. There is a sense of entitlement that they have. But there is also a sense of delusion. They scroll the pages of TMZ and Perez Hilton and see a mirror image of themselves. They want to live the life without putting in the work. It doesn't help that the parents are not present, and even if they are, they are filling their heads with Hollywood pseudo-spirituality that preaches positive thinking but doesn't lay out the framework for actually putting in an honest days work. Emma Watson delivers the stand-out performance as Nicki. Nicki gets what she wants not when she fills her pockets but when the cameras are in front of her. Almost as if she's laid out the entire thing (which you realize is impossible coming from her), she wants that fifteen minutes of fame where the paparazzi is in front her with the cameras snapping away.

The film gets running immediately with the punchy Noise-Pop and the showcase of material objects that would later become evidence. The lack of work ethic that the teens have combined with the sense of entitlement is reminiscent to the girls in Spring Breakers. But the film ultimately lacks depth. Perhaps it's the subject matter that doesn't give Coppola enough to work with? Could she have gotten into their minds a bit more? Maybe she squeezed everything she could have out of them. In the end, it's not going to be a Oscar-piece, but she was able to get a great performance out of very talented Emma Watson and examine the obsession of celebrity culture by today's youth.

The Intouchables

Olivier Nakache & Eric Toledano, 2011


4/5

Philippe (Francois Cluzet) is a quadriplegic seeking in-house nursing care. When Driss (Omar Sy) comes in, straight from the rough streets, he surprises everyone by taking a chance on him. That choice would become life changing for him.

It's a heartwarming fish out of water French Drama. The story could be minimized to a "rich guy hires poor guy", almost in the same vein as Pretty Woman (minus the romance of course), but it's more than that. Philippe clearly wants someone sitting at his bedside who is DIFFERENT, not the generic nurse who robotically fulfills his daily duties. Of course he finds that element of unpredictability in young Driss, who isn't even serious about pursuing the job and who is more focused on stealing one of the Faberge eggs nestled on top of the hand-carved bureau. They are both looking for something that they inevitably find in each other, even though they aren't really sure what that is. Change? Culture, Humor, Surprise? It's all of that, and more. They bring out the best in each other. Philippe appreciates the fact that Driss doesn't pity him, look down on him. Philippe encourages Driss to show his talents, or at least explore them. It's quite evident that Philippe could serve as sort of a father figure to Driss, who had a turbulent upbringing. The progression is authentic, and is played out beautifully. Philippe, who almost looks like a French Dustin Hoffman, can't move a limb but he doesn't need to. The emotions are easy to read on his face. When he smiles, you see the years of loneliness wiped away. There are many touching moments in the film, sure to pull on the heartstrings. You can certainly predict how the story will play out, and that's fine. It's a wonderfully predictable journey.

Friday Night Lights

Peter Berg, 2004


3/5

The Permian High Panthers are a high school football team that gives the depressing town of Odessa, TX hope... and also high expectations. The players are competitive yet innocent, looking ahead to their future while also trying to please everyone around them by bringing home the big victory. Based on the book by H.G. Bissinger.

Berg successfully captures the rapid pace of a football game, and augments his unsteady camera work with a transcendent soundtrack. Transitional shots of industrial rust-littered landscapes are peppered in throughout the film with beautiful, ambient musical elements that are reminiscent of early Modest Mouse. The high expectations resonate throughout the town, from the deadbeat old-jock father vicariously living through his son's athletic moments to the African American uncle who just wants his nephew to have a future more meaningful than his own. The high expectations of the Panthers do not just stop at the players. Coach Gary Gaines (Billy Bob Thornton) feels the weight of the pressure on his own shoulders, and at times wonders if the long hours and late-night arrivals at home to a cold dinner plate are really worth it. Berg effectively paces the film to a big climax of a championship game. Versatile cinematography really puts you in the middle of the action on the field, although at times it's a bit erratic with jumping back to the scoreboard quickly and then back to the line of scrimmage. You find that you lose track of the game clock, presumably because Berg wanted to focus on the individual player drama more than the technical details of the game. Too often sports dramas have that cheese factor: repetitive shots and exhausting cliches with scenes that might as well play out to the "Chariots of Fire" theme on repeat. Berg avoids the cliches here and really paints a compelling picture.

Goodfellas

(REWATCHED)

Martin Scorcese, 1990


5/5

Scorcese's adaptation of the non-fiction book "Wiseguy" by Nicholas Pileggi. The story follows the rise of Henry Hill, from kid to adult, working for the Lucchese crime family.

Finding someone who has not seen Goodfellas would creative feelings of jealousy. I would want to immediately sit them down and play it for them. I would likely become hypnotized, like I usually am, and watch the entire film again. It's Scorcese's true masterpiece. His mafia symphony. His flawless gritty gangster epic. The single take scene with the camera panning through the restaurant. Ray Liotta breaking down the fourth wall. The resonating soundtrack that spans time, from The Moonglows to The Rolling Stones. The elevating strings of cigarette smoke, the bubbling meat gravy, the puffy lines of cocaine. After watching it for the tenth time, you still find little gems here and there that previously went unnoticed. Not only that, the surprise moments in the film that you've become to expect are still magnetic. Ray Liotta has never been better. Liotta, like James Gandolfini in his role as Tony Soprano, - provides such an impeccable performance that he is permanently type cast. The progression and deterioration of Henry Hill is so well detailed. The 146 minutes move so fast, you forget that you had to flip the DVD over to side B. I used to have dreams about this film. The number one rule for making a mob film is you have to create anti-heroes that have some kind of endearing quality that makes you invest in their character. Scorcese creates these characters that embed themselves into the fabric of your mind. The actors are so good in this film that they are cherry picked for future mob roles. The film currently sits at #15 on IMDb's Top 250 and is preserved in the National Film Registry in the Library of Congress.

Hachi: A Dog's Tale

Lasse Hallstrom, 2009


3/5

Based on a true story, Parker Wilson (Richard Gere) discovers a stray dog at his local train station. Not wanting to surrender it to the pound, he decides to take it home. He soon discovers that the dog returns to the train station every day to await his return from the University where he teaches.

The Japanese story of Hachiko, the loyal Akita Inu, is told in Western form. It's a compelling story and a look at an everlasting emotional bond of dog and man. Richard Gere is reunited with Jason Alexander, who plays Carol the station manager. Although the film is quite formulaic, it doesn't need to run on much more than its rather basic story to extract the teardrops. Gere is effective as the forbearing father who can't think of the dog spending the night in the cold puppy pound. Ironically, Hachi sits through the cold winter months waiting for Parker to step off of the train cart. The connection between the two is both unique and inspiring. Hallstrom uses creative techniques such as shooting from Hachi's perspective, using vague colors to mimic canine vision. The emotional tone of the movie will solicit memories of Marley and Me. While somber at times, its a story worth being told.

The Way Back

Peter Weir, 2010


3/5

          Set during World War II, a group of prisoners escape from a Siberian labor camp and brave the harsh winter conditions and venture through the freezing snow-covered forests, sand-ridden desert, and the Himalayan mountains in an effort to ultimately seek refuge in India. Based on a true story.
          Peter Weir takes you on a long journey much like Edward Zwick does in Defiance (2008). Instead of focusing on Jewish prisoners though, this story focuses on mostly Polish prisoners but also an American (Ed Harris) and a Russian (Colin Farrell). While the story is at times dragging along, Weir does a good job of really focusing on the surrounding environmental struggles and the sheer will they have to survive. Not only do they have to worry about the harsh conditions that surround them, they also have to be very conscious of anyone who may try to retrieve a bounty for their head if seen by the wrong person. The film is very effective at studying human morality in many ways, especially during a time when the world around you is being destroyed. In the end all you're left with is the urge to keep walking, and every step counts. By the time the group reaches the desert, and sees the miles of scolding earth in front of them - you assume that most people would simply give up. The main attraction to the film are the beautiful landscapes... the rocky tundra, endless mountains. Good acting manages the story well, but its a long journey and by the end you are exhausted along with them.