American Hustle

15, 2014, Directed by David O. Russell
Starring: Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence

  

American Hustle's tone is set from the opening caption, citing the events of the film as 'mostly true'. David O. Russell's 70s-set caper - which is, yes indeed, loosely based on the FBI ABSCAM operation which saw a pair of con artists forced to set up a sting corruption in order to frame several politicians - is the follow-up to his adorned Silver Linings Playbook (2012), recasting both Bradley Cooper and Jennifer Lawrence in roles secondary to The Fighter's (2010) lead talent, Christian Bale and Amy Adams. With the zaniness amped up, here they play the con artiste counterparts Irving Rosenfeield (complete with hilariously terrible toupee) and Syndey Prosser (complete with hilariously terrible English accent), with Lawrence impressing (who'd have thought it...) as the former's erratic wife, and Cooper slipping into the shoes of undercover agent Richie DiMaso - damn near stealing the film from under everybody's wigs..

Throughout, however, O. Russell distractingly conveys the feel of a picture attempting to capture Scorsese movie magic, instead lacking the required punch that pushes that filmmaker's features towards modern classic status. The whole aesthetically-charged setting of the decade is realised well, with each actor throwing themselves into their assigned role with aplomb. Bale and Adams both impress, dealing with quite a script that captures screwball wit well - most brilliantly utilised by Cooper, his scenes with comedian Louis C.K. reigning most supreme in the membrane. As is the norm ever since her role as Ree Dolly in Winter's Bone, no review would be complete without talk going the way of Lawrence, proving as firecracker Rosalyn that comedy still remains no biggy.

With every character untrustworthy up to their eyeballs, it doesn't prove teeth-sinking material, one questioning whether you would gladly decide to spend time in their company for a rewatch once the screen fades to black. The hard irony O. Russell befalls is that American Hustle would probably benefit from such a rewatch, it's sprawling tangential editing not as slick as all involved believe it to be. But with many a laugh-inducing moment, and a neatly played cameo (that adds to the earlier Scorsese theory), American Hustle is perhaps a bit too ahead of the curve for it's own well-being, but still exists on a scale above most films released this January.

3.5/5

 

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The Sessions

15, 2012, Directed by Ben Lewin
Starring: John Hawkes, Helen Hunt, William H. Macy, Moon Bloodgood

There are times when an astounding story can open your eyes to matters you never paid any thought to because you felt you never needed to; then there are those you are simply blissfully unaware of. The Sessions tells the story of poet and journalist Mark O'Brien (John Hawkes), a disabled individual who, due to a bout of polio as a youngster, is confined to an iron lung, unable to move any part of his body save for his head. 38 years of age, Mark’s visits to his local priest (William H. Macy, on fine form) lead him to Helen Hunt's sex surrogate Cathy in a bid to lose his virginity. A tough sell for a film indeed. But no need for worry. Writer/director Ben Lewin tackles the true-to-life story (based on articles, poems and journals O'Brien himself wrote) with aplomb, flitting from scene to scene without a worry over the pressure of dealing with such a sensitive matter. Hawkes' portrayal of O'Brien, all witty asides and down-to-earth musings, is really quite something - proving that for all his Winter's Bone and Martha Marcy May Marlene silent and uneasy exterior, he can deliver when tasked with the more challenging performances. And boy, does it speak for itself. 

Hunt's professional therapist is good on-screen company for Hawkes, the two forging an unlikely but convincing chemistry. Most interesting are her scenes when she returns home from her sessions with O'Brien; evidently more difficult to leave him behind each time (she immediately points out six sessions is the limit; sex surrogates aren’t prostitutes, after all,)  the interactions with her husband, and their forced pillow talk – compared to her lively fluent conversations with her patient - could have been mapped out to add flesh to Cathy's bones.

Attempting to split the strangely-rapid scenes by cutting to O'Brien's talks with H. Macy's priest to fill in the gaps prove just a little mismatched to the remainder of the film. At times, it appears Lewin worries some scenes are outstaying their welcome, when you just feel it simply could have been more effective if shown. Not least because the application of the overused voice-over technique genuinely works well in this instance. After all, if anyone's thoughts are going to be intriguing to hear, it's going to be a man with an iron lung who spends most of his time thinking.

Although Lewin's script may brush over the more nasty aspects that may come with the territory (perhaps his point - Lewin himself is a former polio sufferer,) the central performances complement the astounding story, if not to as an astounding degree as you’d hope.  But as the laughter pours out, you'll marvel at how a film about a guy unable to move his body can be so heartwarming. In other hands, The Sessions could have been littered with sentimental schmaltz. In Lewin's grasp, it is so much better, if perhaps played a little too much for smiles. 

3.5/5

 

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Oscar Nominee #10: Winter's Bone

Say hello to the dark horse of this year’s nominations; the fact that the bleak Winter’s Bone has been nominated is an undeniable blessing. An affecting, harrowing tale of Ree Dolly’s search for her wayward father will endure as one of the greatest largely-unseen films of last year. Jennifer Lawrence’s performance is one of the most believable and unassuming of the nominations, (and as much as I love Portman, it would be a victory, albeit a bittersweet one, if Lawrence nicked it from under her nose). If anything, the fact that Winter's Bone is in the list makes me extremely glad so as to raise its profile and get it seen. Again, Debbie Granik did not receive a Directing nomination, so there won't be a repeat of last year's Kathryn Bigelow female victory, but Granik's passion for her craft is evident. But like I said, its inclusion is enough and its chances are better than most.

Would it have been nominated before the 10-nomination rule?

I’m going to say no. It would have been between this and True Grit, but I can’t quite explain why I think the Academy wouldn’t have swung towards this. Probably would average out on other nominations, and whilst True Grit has got a Direction and Screenplay nomination for the Coen’s and noms for Bridges and Steinfeld to boot, Winter’s Bone has only been recognised for Lawrence and John Hawkes, for Supporting Actor, who fully deserve their nominations, and Screenplay. Also, more people know True Grit and the Academy are generally quite lazy, so less members have probably seen Winter's Bone. The extension to 10 nominees is effective when films like this get noticed for their worth.

Rating out of 5: ●●●●●

Chances out of 5: ●●●●●

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Oscar Nominee #4: The Kids Are All Right

This Sundance smash was always guaranteed Oscar recognition, what with its superb central performances from Julianne Moore, Annette Bening and Mark Ruffalo. But more that this, its audacious depiction of a lesbian couple wasn't so much brave, but necessary to make the film what it was. Again, just like The Fighter, it could be claimed that this more an Actor's film than most (especially considering Lisa Cholodenko did not receive a nomination in the Best Director category), but this could have been one hell of a dark horse had Winter's Bone not been included. As it remains, if The Kids Are All Right's inclusion simply raises awareness of this enjoyable, character-driven film, then so be it.

Would it have been nominated before the 10 nomination-rule?

This is difficult – but I would say no. This does fit into the genre of comedy more than any of the other films, and very rarely does a comedy get nominated let alone win Best Picture. However, this does have its fair share of drama, which cancels some of the comic moments out. The only winning film that springs into mind when thinking about The Kid's Are All Right is Terms of Endearment, and on retrospect that wasn't that great a win. It is an incredibly strong race this year and this film is more likely to get noticed in the acting department

Rating out of 5: ●●●●●

Chances out of 5: ●●●●●

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Winter's Bone

2010, 15, Directed by Debra Granik

Starring: Jennifer Lawrence, John Hawkes, Lauren Sweetser, Garret Dillahunt

Winter’s Bone, like its title might suggest, is a bleak, cruel and unhurried adaptation of Daniel Woodrel’s novel, which sees newcomer Jennifer Lawrence’s Ree Dolly searching for her wayward father in the frozen backdrop of Arkansas. Although extremely slow in pace, this is the point; lines are delivered tediously and monotonously to reflect the surroundings, and not for one second do you doubt Lawrence’s truly great, naturalistic performance. Never doubting her desperation to avoid the imminent danger that beckons, this causes for truly tense encounters. Another highlight is the casting of Deadwood’s John Hawkes as Teardrop, Ree’s unpredictable uncle. The beauty of Hawke's performance is in the way the audience can fear him and rely on him from one scene to the next. Once you’ve glimpsed the landscape where the town folk live by their own rules as opposed to the ‘law’s’, it becomes astoundingly easy to translate this into reality. If you fetch Winter’s Bone, you will be rewarded.

4.5/5

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