They Were Playing My Jam Until…in The East

Follow the sound of my voice in The East.

Follow the sound of my voice in The East.

Brit Marling has to be one of the strangest young “artists” to emerge from the indie movie scene in the last few years.  She has a classic natural beauty, a deep whisper of a voice and an intriguing upside down smile that make her very watchable on-screen.  She’s also a writer and ideas creator behind the scenes, cooking up thought-provoking roles for herself and her fellow actors  Yet after seeing her in four interesting films (After Earth, Arbitrage, Sound of My Voice and now The East), I’m not entirely convinced of her acting ability.  She has a vacant stare (which works to her advantage depending on the role), an aloof physical presence, and while she knows how to cry predictably emo-style in emotional breakdown scenes, she rarely shows any other emotion.  It’s like she’s wading slowly through water up to her eyes on-screen.

Well, Marling has re-teamed with co-writer and director Zal Batmanglij for the eco-terrorism indie thriller The East.  Whereas in their previous endeavor – the quasi-entrancing Sound of My Voice – Marling played a soft-spoken cult leader claiming to be a time traveler, here in The East she is the corporate operative assigned to infiltrate a clandestine vigilante terrorist co-op which targets corporate polluters and big pharmacy.  The group is lead by the soothingly charismatic Alexander Skarsgard, who we eventually learn is a former trust-fund boy turned terrorist.  Also on board for the well-rounded cast are Patricia Clarkson (excellent as always but underused) as Marling’s cold client-focused boss and Ellen Page (convincingly dedicated to the cause) as a key player in the terrorist group. Continue reading

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Shutter Island Part Two: The Film

Ashes to ashes...dust to dust.

In 1950’s Boston, two U.S. Federal Marshals (Leonardo DiCaprio and Mark Ruffalo) get trapped on an island that is home to a hospital for the criminally insane during a hurricane while investigating the disappearance of a psychotic patient (Emily Mortimer) in Martin Scorsese’s long-awaited screen adaptation of Dennis Lehane’s best-selling novel. 

How long was the wait?  Well, it was long enough for me to read Lehane’s book between the original and actual release dates.  And was it worth it?  Oh, you betcha!  And let’s get another thing straight, boss.  Shutter Island is a “lesser” Scorsese…as in Full Metal Jacket is a “lesser” Kubrick.  It also means this is the Scorsese I fell in love with as a kid.  Yup, my first exposure to the greatest living American director was Cape Fear, another “lesser” film.  Continue reading

A Review of Woody Allen’s “Whatever Works”

Larry David tries to convince Evan Rachel Wood that Woody Allen likes her just as much as Scarlett Johannson.

Larry David tries to convince Evan Rachel Wood that Woody Allen likes her just as much as Scarlett Johannson.

“I’m not a likable guy…”
7/10
Author: David H. Schleicher

Woody Allen’s alter ego, Boris (a bitterly good and sardonic Larry David) makes this statement to the audience rather early on in Whatever Works.  The truth is, no matter how misanthropic, sarcastic and neurotic Woody Allen is, he ultimately is a pretty likable personality…if you like that type.  Allen’s return to Manhattan after three stays in London and a wonderful stop-over in Barcelona is yet another niche film. Fans of Allen, as well as fans of Larry David’s “Seinfeld” and “Curb Your Enthusiasm” (which not so ironically should be the same folks) will find plenty to laugh at here, while others will inevitability whine, “I don’t care for Woody Allen…and oh, that Larry David! Can’t stand him!”

The plot of Whatever Works  is irrelevant.  Boris is some sort of genius-level physicist trying to speed his way to death, though those metaphors are never explored as poignantly as they should be.  It all just serves as a soap-box for Allen (through David) to funnel his usual dialogues about relationships, love, luck and the meaning of life.  It’s all very broad and obvious this time around, but it’s sometimes nice to still be laughing at the same old feel-good shtick.  It should come as no surprise that Boris also tells the audience this isn’t a movie designed to make you feel good, unless you’re Allen fans, and then you’ll feel pretty swell afterward.  Leave it to Allen to infer moviegoers are inherently morons, but we’re sophisticates for watching his films.

Apparently this is a reworked screenplay from the 1970’s and the Annie Hall style monologues to the audience are evidence of that.  In the jokes department you’ll find old standards mocking the French and suggesting kids should attend “concentration camps” for the summer mixed with modern humor about the Taliban and Viagra.  There’s also one hilarious throw-away/blink-and-you’ll-miss-it reference to James Cameron’s The Abyss that makes you wonder if perhaps the screenplay was first reworked in the 1980’s before its final incarnation here. 

In the casting department we find Patricia Clarkson, yet again, is a delight in her curiously under-written over-written role (which is far too simply complex to explain in a traditional review) and continues to build a case for herself to be declared this generation’s “Best Supporting Actress” twenty years from now.  Evan Rachel Wood is cute-as a-button (oh, as her character might declare, what a cliché) as a Southern cutie-pie who runs away to New York City and meets up with the suicidal Boris.  Allen, as always, is luminous with his photography of the “young lady.”  And unlike the similarly dumb motor-mouthed funny-voiced Mira Sorvino character from Mighty Aphrodite, Wood’s character is actually given an arc here and proves not to be as shallow and moronic as Boris originally assessed, which indicates maybe Allen is growing just a teeny bit in his view on women…or maybe not.

Ultimately this is yet another testament to Allen’s worldview, which is summed up here as do whatever works for you to trick yourself into believing you’re happy in this miserable world.  Sure, there are times when Boris’ diatribes run a few lines too long, or when the film stops dead when he is not on screen, but for the most part, this is Allen doing what works best for him.  No other director can call himself out on all his personal pratfalls and annoying quirks yet still find a way to endear himself to the faithful who are ever patient with him and his films.  No other director can be so charmingly mean-spirited and self-deprecating yet still find a way to declare his alter ego a genius at picture’s end.  And that’s why we’ve always liked you, Woody, for better and for worse.  For what it’s worth, when it comes to Allen’s better and worse, Whatever Works falls happily in between and works just fine, thank you very much.

Originally Published on the Internet Movie Database.

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Check out some of my reviews of past Woody Allen films:

Vicky Cristina Barcelona (2008)

Match Point (2005)

Melinda and Melinda (2004)

Annie Hall (1977)