Oscars 2013 Catchup: 'Dallas Buyers Club' & 'The Wolf of Wall Street'

Well, all right all right all right.

As I mentioned almost a month ago, my work status and living conditions cut into my movie-going availability for this new year. When the Academy Award nominations were announced on January 16'th, I had only seen four of the eight nominees for Best Picture (which expanded to five when I took in Philomena). Consider the fact that last year's Oscars were the first in which I'd seen ALL of the Best Picture nominees and you can see what a precipitous fall that was. And despite needing to play catch-up on 2014 films (with movies like Ride Along and Non-Stop, I might be doing myself a favor waiting for DVD), I still want to know what made the most recent nominees tick and why they were so favored. And so I recently rented two of last year's Best Picture nominees, looking to see if either of them deserved to be spoken in the same sentence as big winners Gravity and 12 Years a Slave.

Unless you've been living under a rock, you know that Matthew McConaughey won the Oscar for Best Actor for portraying the real-life Ron Woodroof in Jean-Marc Vallee's Dallas Buyers Club, in which Woodroof goes from rodeo enthusiast and serial hellraiser to terminal patient during the giant AIDS scare of the 1980's. Faced with the impossibility of obtaining life-saving drugs in the United States, he heads south of the border to get help via non-FDA-approved medication in Mexico. With the assistance of a fellow patient and trans woman Rayon (fellow Oscar winner Jared Leto), Woodruff traffics and distributes this unapproved medication to others ostracized by the system.

Let's be honest; as much as I love Chiwetel Ejiofor, and as AMAZING as he was in 12 Years, McConaughey ABSOLUTELY put forth the best performance by a leading man in 2013. It's easy to point to his physical transformation - his Woodruff looks like he could be snapped in half by Lou Ferrigno - but its the acting side of this man which deserves the most praise. McConaughey absolutely masters the screen, and when you consider what he as already accomplished in the world of entertainment last year (Mud, HBO's True Detective, and even stealing some early scenes in The Wolf of Wall Street, which we'll get to later), that this is his (and the) greatest acting achievement of 2013 is really saying something. And while he's surrounded by a good supporting cast - including solid second-stringer Jennifer Garner as the requisite fictional love interest - the only one who steals any of the naked bongo player's spotlight is Leto, whose transformation into the (also fictional) Rayon is haunting in its perfection and commanding presentation. And to address the elephant in the room, I understand peoples' opinions that a real trans woman should have played the role. Their arguments make a lot of sense, however, to that I have two responses. One is that Leto's work does absolutely nothing to marginalize, insult or make light of the trans community. The other is that this is ACTING, and if Leto was the best actor - trans or not - to portray the role, than he was the right one to be cast. I know it's not an apples-to-apples comparison, but does that also mean Idris Elba, Damien Lewis, Emma Watson and Daniel-Day Lewis can only play British people? That seems a tad restrictive, and kind of unnecessary. If someone is the best fit for the role, then it should be offered to them. And when they do as good a job as Leto does, there's not that much left to complain about.

Two of 2013's best.

Okay, tangent over... The story itself is also standout, with the screenplay by relative newcomers Craig Borton and Melisa Wallack doing an excellent job developing the characters and setting the tone. Vallee really transports the viewer back to the 1980's and captures the fears, prejudices and events of the era with a camera style that feels appropriately intimate. We're SUPPOSED to fall in love with these characters, and the director does absolutely everything within his power to make that happen. The only thing preventing the film from being perfect is the editing, which more often than not is excessively jarring and takes the attention of the audience away from the well-crafted story. It also draws attention to the rare story weaknesses, putting a small chink into what could have been a flawless film.

I love me some Rayon, even if she doesn't actually exist...

But even with those light missteps, Dallas Buyers Club is easily among last year's best offerings. Even if McConaughey and Leto hadn't won their well-deserved Oscars, you should do yourself a favor and see this movie if you haven't done so already. Between the excellent acting and mind-shattering story, this movie EARNED its Best Picture nomination.

But while you can see at a glance why Dallas Buyers Club earned a nomination, it's not so easy to say, unseen, where The Wolf of Wall Street fits in. On one hand, it's from a filmmaker (Martin Scorcese) who easily sits atop many experts' Best Director lists, and has absolutely earned that distinction. It's also headlined by superb talents in Leonardo DiCaprio and Jonah Hill (who now has more Academy Award nominations than an embarrassingly long list of talents like Gary Oldman and Bill Murray) and even a scene-stealing McConaughey. It's even got a screenplay by a man (Terence Winter) who cut his teeth on The Sopranos and Boardwalk Empire. On the other hand, a LOT of controversy came out of this release, from the accusations that condones greed and sexism, amongst a litany of other transgressions carried out the film's characters. It has the distinction of containing the most uses of the word "fuck" in a mainstream motion picture, and that level of f-bomb dropping usually indicates a lack of creativity, rather than a surplus. Based on the best-selling nonfiction book by Jordan Belfort, this definitely wasn't going to be as cheer-worthy as any of the other nominees. Of course, that didn't matter as it still turned out to be one of the best flicks I've seen in recent years.

Little known fact: Leo doesn't crumple up and throw away money, but James Franco does.

As I mentioned before, Wolf of Wall Street is based on Belfort's life, most notably his glorious rise on Wall Street to his equally precipitous fall from grace, fueled by a life of drugs, infidelity, outrageous behavior and general hooliganism, which eventually got him caught by the FBI. From the word go, you get a real impression of what kind of movie you're in for. The language is crude, the pace is hectic, and personalities are outrageous to the point of lunacy. And whether or not this is consistent with the tone of the book (and many reviewers say it is), this kind of energy with the New York Stock Exchange set as the background is entertainment incarnate. The acting is also top notch. As I mentioned, McConaughey steals a few scenes, even though they are decidedly at the beginning of the picture. Kyle Chandler shows up and puts in a suitable Kyle Chandler offering as an FBI investigator. And while I'm not entirely certain how I feel about Margot Robbie's performance as the mandatory female love interest, two items seriously impress me. First is that her pitch-perfect Brooklyn accent came out of an Australian actress. Second, she plays a vastly different role than her admittedly-smaller part in romantic comedy About Time. She never steals the scenes from the leads, but holds her own opposite more experienced talent, so that at least is commendable.

But the show belongs to these boys.

But this film is definitely a boy's club, and three men in particular are the ringleaders of this circus: Scorcese, DiCaprio and Hill. The director tackles a topic that is not quite as offbeat for him as the kid-friendly Hugo but still feels a bit apart from even his New York-set titles. On the surface it's the kind of nihilistic glorification of greed and selfishness that had NYSE audiences cheering at the inappropriate bits upon its release. But in reality it's easy to see where the guy in charge draws the line. When the boys are running a successful firm and (arguably) harming no-one, or when Belfort is comically embroiled in the middle of a life-altering scandal, it's easy to be drawn in and amused by the hilarious antics of the protagonists. But then there are the jarring scenes, especially a violent one in the last act, where someone IS getting hurt and suddenly the drug trip isn't funny anymore, and you realize that all those good times and funny bits were hiding something much, MUCH darker, something Scorcese makes no effort to cover up or excuse. Much like Kathryn Bigelow refusing to villify prisoner torture in Zero Dark Thirty, Scorcese actually leaves the actual condemnation up to the audience's discretion, which is exactly what a good director does.

Well, we know his kryptonite...

Scorcese's leads help him perfectly in his narrative effort. DiCaprio is perfectly cast as Belfort, but to be honest it doesn't appear much of a stretch as some of his better performances over the years. Lately, it seems like he's been playing this same kind of prideful, self-centered role in The Great Gatsby, J. Edgar and Revolutionary Road. And so I only have to assume those who cry that the actor should have beaten out McConaughey and Ejiofor for the Oscar are merely DiCaprio fanboys, as here he is not quite on their same level (Don't get me wrong, he definitely deserved the nomination). But while DiCaprio puts up predictably strong work, the one who absolutely OWNS every scene is Jonah Hill. Honestly, I can't believe this is the same guy who brought us Superbad and 21 Jump Street. He's always been funny, but here he seamlessly blends into the role in a way I never would have thought him capable. If only one person from this film could have been nominated for an Oscar, it ought to have been Hill all the way. Not only has the actor been the lucky recipient of two Academy Award nominations, but he absolutely EARNED them, as well.

Well... that's different...

Now, as much as I loved The Wolf of Wall Street, I also admit that it has its share of problems. At three hours, it's either thirty minutes too long or short (better editing in the third act would have made for a watchable extended cut). Scorcese falls into his usual trap of obvious metaphors on occasion (one particular scene comparing Belfort to the cartoon Popeye is especially groan-inducing), a habit inexcusable for such a seasoned director. And the movie DOES contain a ton of controversial material, from the objectification of women to a relative lack of punishment for the protagonists, though it should also be pointed out that the real fault for this lies with Belfort and his cronies who played out the real-life story, not the filmmakers who faithfully adapted it to the screen. In fact, Scorcese should be lauded for taking such a despicable character and such a horrible story and making them interesting and utterly compelling to a movie-going public. It's incredibly easy to admire much of what Belfort did all those years on Wall Street, even if it turned out to be more harmful than anything else. And Scorcese's project is absolutely a condemnation of the events in question, even if it doesn't seem like it all the time. It isn't made for everybody, but I still think everybody should see The Wolf of Wall Street at least once. If nothing else, it's a window into a world you may never be a part of, and a cautionary tale so that this true story is never repeated again.

Double Feature: 'The Place Beyond the Pines' and 'Mud'

Today's double feature films actually share common themes! Usually, I just lump two movies together no matter their content in order to rush along and catch up on my backlog of film-going exploits. But today's features carry two very universal and very emotional themes that should be appreciated by all viewers: Love and Family.

The first of these releases, The Place Beyond the Pines, is director Derek Cianfrance's dramatic followup to his excellent (and under-appreciated) 2010 indie Blue Valentine. It's three tales of fathers and sons, the first focusing on traveling stuntman Luke Glanton (Ryan Gosling) returning home to Schenectady, New York (from where the film gets its name) and discovering that an old girlfriend has given birth to a baby boy. His baby boy. Giving up his stunt gig, he struggles to find a living wage while trying to be there for the son he didn't know he had, eventually robbing banks to try and support his estranged family. That leads him into conflict with police officer Avery Cross (Bradley Cooper), who is also balancing his love of being a police officer with his disdain for the rampant corruption in the department. Each man tries to provide for the futures of their infant sons, and their decisions will have dramatic repercussions in their childrens' lives.

Besides a full, enthralling story that keeps you glued to your seat, the big showstoppers here are definitely Gosling and Cooper. For those of you who failed to witness his worthy performance in Valentine, Gosling once again thrives under Cianfrance's direction, flawlessly walking that fine line between his good man persona and a dark, desperate edge driven by his desire to provide for his family. If anything, it's a harder role than that of Valentine, which had him play two sides of a coin but in two different times. Here he's doing it all at once, an amazing effort that ought to be applauded. And for those who thought Bradley Cooper's performance in Silver Linings Playbook was impressive, he completely blows that showing out of the water here. In a performance worthy of the nomination he got for last year's decent romantic comedy, Cooper really commands the camera. Whether that's due to his natural talent coming to a head or his working under an actor's director like Cianfrance is unknown, but he's definitely puts in one of the better performances this year. Backing them up are solid showings from veteran actors Eva Mendes, Ray Liotta, Ben Mendelsohn and Rose Byrne, each adding just enough to make their roles memorable.

The film does have a few surprises, most notably the curious final act featuring Glanton and Cross' grown children, but for the most part the surprises work better than you might have expected. It's not too often that you get a movie that is tailor-made for fathers and sons (in fact, it's surprising that this wasn't released closer to Father's Day), but The Place Beyond the Pines is a brilliant piece of artistic filmmaking that caters to that specific demographic. If you're a fan of Cianfrance's previous works or either of the film's principal actors, this is definitely a film you shouldn't miss.

Mud isn't far behind it, though the pedigree of writer/director Jeff Nichols certainly isn't as renowned as that of Cianfrance. Fans at least will point to 2011's apocalyptic thriller Take Shelter as proof of his talent, though I admit I have yet to see that particular film. But if Nichols' talent is anything close to what he displays here, that film may be due for a rental. Mud is the story of two Arkansas youths (Tye Sheridan and Jacob Lofland) who investigate an empty island looking for a small boat that supposedly washed up in the last flood. What they find instead is Mud (Matthew McConaughey), a man on the run from the law and awaiting the arrival of his girlfriend Juniper (Reese Witherspoon). Running low on food and supplies, Mud asks the boys for assistance in getting things he cannot go into town to get and to reconnect with Juniper. Meanwhile, both the law and a gang of vigilantes hunting Mud are moving in, and the two boys might be getting in way over their heads.

Nichols does a great job crafting his story, and the main reason this coming-of-age tale works so well is because the director doesn't treat it like it's any old reworked classic. Nichols' story is deliberately paced, parceling out morsels of information in easily digestible pieces. Though Mud's background isn't as deep or mysterious (or unpredictable) as similar characters throughout cinema history, Nichols' effortless ability to keep the story suspenseful is a major asset in keeping his audience focused on the task at hand. Mud if nothing else is exceedingly well-told, presenting the rural south in a way not seen since Mark Twain was at his literary height. This isn't a surprise; the director has claimed Twain as an influence on his work, and that type of narration definitely helps his movie achieve greatness.

The acting corps also doesn't have many lightweights, as everybody here is a seriously-talented performer vying for recognition. The cast is filled with the likes of Sarah Paulson, Ray McKinnon, Michael Shannon and Sam Shepard, putting on strong performances in small roles. Witherspoon shows what she can do outside of her romcom element, reminding everybody of just how good she can be in dramatic stories. And McConaughey is definitely looking for Best Actor awards, his smoothly demure fugitive one of the absolute best performances he's made to date. But surprisingly the movie actually belongs to Sheridan and Lofland. Lofland, a newcomer with no prior film experience, works well in the sidekick role, playing a sounding board for Sheridan and providing a bit of comic relief as well. Sheridan is both a surprising and excellent lead, however, adopting those Tom Sawyer-esque mannerisms of the character while feeling still unique and individual. His ability to narrate a film without saying much is something to be celebrated in a Hollywood where too many filmmakers believe that audiences need things spelled out for them.

What we have here in The Place Beyond the Pines and Mud are two excellent independent films. If they're playing anywhere near you (both were playing at over 600 US theaters this past weekend), then you should do yourself a favor and check them out. One is a fantastic drama which adult fathers ought to attend with their adult sons, the other a mystical and yet utterly modern romance that ultimately manages to feel wholly unlike anything you've seen before. Both ought to be worthwhile whether seen on the big or small screens, but I definitely encourage the theatrical route, as while there's been the occasional great reason to go the movies lately, these are the types of films smart film-goers should be fully supporting.

Lady Killer

I was about to go to the movies yesterday when it hit me; nothing I hadn't yet seen looked all that great. Between feel-good romance Playing for Keeps, Brad Pitt flop Killing Them Softly and Saw knockoff The Collection, I just couldn't muster the effort to walk out the front door. I had work in the evening, so showtimes also conflicted in me going to Anna Karenina or Breaking Dawn: Part 2. That's right, people; desperation makes a Twilight film look better than most other options.

So I turned on Netflix to see if there was anything I could watch to pass the time. I still typically use it to watch TV shows, as most movies available in streaming aren't worth a second glance. It should also be pointed out that I had watched the (brief, unsatisfying) Golden Globe nominations in the morning, so I had a good idea what movies I had missed that might have been worth catching up on. Lo and behold, Bernie popped up almost immediately on the screen. Released last spring, Bernie had garnered some positive reviews but never really caught any traction. I can't say I'm surprised; Jack Black's star has quickly faded domestically, and as many people know I prefer the comedian in supporting roles, where his particularly manic frenzy can be mitigated by limited screen time. But with his nomination in the Globes' "Best Actor - Comedy/Musical" category, plus those aforementioned reviews, I thought this would be the perfect opportunity to see what all the fuss was about.

Not the first thing you want to see in the morning.

Black plays real-life Bernhardt "Bernie" Tiede, an assistant funeral director and all-around good guy living in Carthage, Texas. When the effeminate, transplanted Louisianan arrived in Carthage, he quickly became a popular fixture in the small town. Always friendly, charitable to the point of excess and constantly thinking of new ways to contribute to society, he was one of Carthage's most popular residents. Naturally, when he befriended the town's least-liked member, 81-year-old millionaire widow Marjorie Nugent (Shirley MacLaine), they became inseparable, touring the world and spending more time together than Nugent ever had with her family. But she was a cruel, jealous and venomous woman, and eventually her toxic personality pushed the mild-mannered, eager-to-please Bernie to murder.

One of these things is not like the others...

It's easy to see why Black has received such acclaim for his performance as Bernie Tiede; this was a role that could have easily veered into the territory of effeminate characters a la The Birdcage, which would have undermined the obvious appeal the real-life Bernie had on the small, Texas community. Black does get to have his fun, but his work here also carries unexpected amounts of subtlety that was missing from almost every single movie he has done before. It's easy to see why the real Bernie was so liked, and this performance shows the potential of maturation that Black has finally experienced after more than a decade of lewd, rude "humor". Perhaps it was reuniting with School of Rock director Richard Linklater that caused this unforeseen transformation, as familiarity often helps encourage risks. This was a good one, then, and Black manages to command every single one of his scenes with ease.

Hello, room service? I'd like a bowl of Fruity Pebbles with a side of Grapefruit.

The rest of the film is okay, but doesn't quite stack up with its leading actor. Pacing is one problem; the lack of it, actually. Often the story moves along at its own pace, which at times is brisk and at others slothful, with almost no middle ground. Much of the early portion of the story is utterly without focus and the final act passes far too quickly, resulting in an uneven tale that relies on its lead to impress. Also, Linklater is way too biased in his storytelling, his aim on portraying Bernie as the hero in all this, and Nugent as a mad spinster who got what she deserved. Any bad thoughts about Bernie are funneled into the prosecuting attorney determined to take him down (played competently by Matthew McConaughey) and few others, and the director gets a little picky about historical accuracy; he choosed to ignore the fact that in fact the people of Carthage were split on their opinion of Bernie's crime and instead focusing on the supporters on the whole.

ANGRY tanned man!

But Linklater does a lot of good as well. In one nice touch, he uses real Carthage residents in interviews about the murder and both Bernie and Nugent, and the more charismatic ones he even uses in the scenes of the actual movie. Despite his biased storytelling, he does it in a way that is both entertaining and unpredictable, so that unless you had read the Texas Monthly article on which the movie was based, you wouldn't have any clue how things would shake out. There are also many standout scenes which will have you unexpectedly bursting out with laughter, and of course there's his excellent work with Black. Given these treats, it's easy to forgive Bernie's faults, as it certainly never left me bored.

We find the defendant funny... THIS time...

When it first became available, I passed on Bernie for a number of reasons. But while I'm not sorry I didn't pay to see it in the theater, I am happy that I decided to give it a second chance. If you're like me and didn't take the opportunity, do yourself a favor and nab it on DVD or Netflix. It's a black comedy with an unexpected strong acting performance, and if you give it a chance then you will certainly be surprised by how much you enjoy it.

A Kind of Magic

Of all the films I hoped I would like in 2012, I think I can safely say that I did not imagine going into a movie about male stripping and come away happy with what I had just witnessed. And yet Magic Mike had a lot going for it when it was released to theaters this past weekend. For one, the whole thing was directed by Steven Soderbergh and while I don't always get behind the man's movues, he certainly does solid work with interesting, unique ideas. The second reason I wanted to see this was star Channing Tatum, on whose early days as a stripper in Tampa the screenplay is partially based. For what feels like a long time I have criticized Tatum's largely wooden facial expressions and general lack of acting ability, as he has been allowed to get by mainly on his looks (or in the early Step Up films, his dancing). But this year has been a turning point for the young actor, whose performances in Soderbergh's under-appreciated Haywire and the amazingly funny 21 Jump Street showed a side of the star we hadn't really seen. He's quickly proving that he is more than just a fem-friendly beefcake, and Magic Mike seemed like the kind of film that pushes a man like Tatum to the next level of his career. I knew I'd likely be the only straight male in the theater (as it was a matinee, I turned out to be the only male, period), but I was ready to see something completely different at the cinema this week.

Yes, there is quite a bit of this going on.

And boy, do Tatum and company deliver. Our star plays the titular Magic Mike, a man of many hats. He runs several small businesses, but makes most of his money as a male stripper (I don't think the term "exotic dancer" is ever used; these guys know their job) at Xquisite, a popular club run by unscrupulous manager Dallas (Matthew McConaughey). But what Mike really wants to do, what he has been working hard to do for the past decade, is make custom furniture from broken and discarded items. He's been steadily saving his money, but so far has not been able to get the concept off the ground. When he meets Adam (Alex Pettyfer), a slacker with no idea what he wants in life, he takes the young man under his wing and introduces him to the business, which Adam gradually gets into despite the disapproval from his sister Brooke (Cody Horn). Xquisite's business is rapidly growing and Dallas is looking to change venues to the more populous and popular Miami. This excites most of the dancers, but Mike is slowly coming to the realization that he doesn't want to be a stripper his whole life, and is ready to settle down. But with the job being seriously lucrative and banks not lending him money to pursue his dreams, how can he possibly step away?

Yes, McConaughey actually dressed like that in the morning.

On one level, it would be easy to label this a movie for women and gay men and leave it at that. In fact, a lot of people believed just that, as ladies made up something like 75% of last weekend's box office for Magic Mike. When you have this much bared male flesh on the big screen, that's just going to happen. But underneath the rippling chests of guys like True Blood's Joe Manganiello or White Collar's Matt Bomer - not to mention the threat of cliched romantic comedy by Tatum and Horn - beats a story about brotherhood, of guys who do what they do to make money, meet women and have fun. Very little of the events depicted here are actually based on Tatum's experiences in the business, but Soderbergh I think does a good job of looking at the industry from multiple angles, from the highs (money, women) to the lows (drugs, dead-end prospects, damaged relationships) with an honest and nonjudgmental eye. Sure, most of the veteran strippers enjoy their jobs, but it's the transformation of Adam in which we see how much it can change a person over even a short period of time. The story makes for something of a cautionary tale, albeit not one nearly so preachy as you might expect.

Even the ladies get in on the skin-baring act.

Both the acting and dancing are top notch and excellently choreographed, and Soderbergh deserves credit for really putting a team of talented performers together and making Magic Mike a full package deal. Tatum continues his incredible run, oozing his usual charm but creating a clear separation in his personality between his civilian life and what he does for a job. Though it might be due to Tatum's experience, Mike might be his deepest and most resonating character to this point, and it is primarily his contributions that make this so much more than a chick flick. I didn't think Cody Horn had a whole lot to do, but Brooke's serious, no-nonsense attitude makes a nice foil for the more laid-back Mike and Adam. And yet she's not such a different or ignorant creature that a pairing between Mike and Brooke is impossible, which is good as the film forces the idea upon us whenever they share the screen.

All he's missing are the bongos...

As for the rest of the cast, most of them have little to do besides reside in states of near-undress, but at least there's a variation in what they bring to the table. I still think Alex Pettyfer is a far more a talented actor than he has been given credit, but lousy box office returns tend to sour you in the face of Hollywood execs. Still, his villainous turn in last year's In Time was the perfect example of lightning in in a bottle, and he continues that trend as a failed college athlete who lacks the drive or commitment to make it in the real world. His is no obvious transformation, but a subtle one that doesn't change the personality of his character, but exploits his already-prevalent weaknesses over the course of the script. In all, a brilliant turn. McConaughey doesn't bring anything new, but is perfectly cast for his southern drawl and ability to pull off a thong. Olivia Munn's topless scene should be all guys need to get into the theater, and her role as a psychology student who met Mike while studying the emotional stability of strippers isn't half bad, to boot. Finally, Joe Manganiello, Matt Bomer and Adam Rodriguez can be applauded for their additions to the cast, even if most of their character development seems to have been scrapped in favor of seriously excellent dance moves.

"Now remember, they have to reach into your pocket to get the candy."

Magic Mike is certainly no fluff piece. The stripping scenes might be outrageous, the romance might be a little forced, and the twists might be somewhat predictable, but this is the type of film that rides high on character and charm, both of which it has in spades. Tatum once again scores, and it would be great if his surprising 2012 could serve as a launching pad for the young man to achieve greater things. It's not often when I am wrong (and even less so when I admit it), but Tatum actually seems to be turning into something special, not just a pretty, unproven face. As far as Magic Mike goes, he MADE it, and if he continues to work with talented directors like Soderbergh and with choice casts like the one here, there's simply no limit to how far he can go.

Raising the Bar

How long has it been since Matthew McConaughey has been known for anything besides his good looks? Sure, he's had his share of hit films over course of his career, with romantic comedies like Fool's Gold and Ghosts of Girlfriends Past, dramas like We Are Marshall, even the psychological thriller Frailty. But McConaughey's resume isn't what has been getting him the most attention of late. Appearing on several "sexiest man" magazine covers, it's easy to forget that once upon a time he was one of the more respected and renowned actors in Hollywood. Often picking film that are more "fun" than critically acclaimed, he's all but secured a second or third tier celebrity status, well below the likes of George Clooney or Javier Bardem, but still above say, Michael Douglass. With the trailers to The Lincoln Lawyer, however, McConaughey seems to be refuting that status. Reminding so many people of his captivating performance in 1996's A Time To Kill, the box office winner looked to be as charming as ever in this adaptation of the novel my Michael Connolly, perhaps finally choosing a role that put his full talents on display. It certainly looked good enough to draw me out to the theater this past Sunday, hoping that the trailers did more than highlight the film's best moments.

A very special episode of Law & Order: Celebrity Victims Unit

McConaughey plays small-time defense attorney Mickey Haller, a smart and charming smooth-talker who, despite a career of defending lowlifes and scumbags and holding a not small amount of disdain for overzealous cops and prosecutors, is actually the hero of this story. Out of the blue, Haller is brought in on a high-profile case: a wealthy Beverly Hills playboy named Louis Roullet (Ryan Phillippe) is being accused of beating and threatening to kill a young woman he had met one evening. Naturally, he claims that he's being set up, and there is certainly enough doubt accredited to the woman's story to make such a statement feasible. As more and more facts become known however, what began as a straightforward case becomes a twisted cat-and-mouse game in which Mickey's not sure who to trust, or what he can do to make things right.

Macy channeling his Boogie Nights persona

The strength of the story lies in its straightforwardness and honesty. Told exclusively from the perspective of Haller, the film's tale is learned by the audience at the same time our hero becomes privy to it. In this way, we're never under the impression that the characters know much more than we do, and this helps draw in the audience to the point where stepping away before conclusions are drawn is nearly impossible. You're invested in nearly every second of the film's run time, and the time spent never feels empty, as every moment bristles with the tension of wondering what new ground-breaking piece of information we'll learn next from the film's assorted cadre of characters.

I just wanted to plug in a photo of Marisa Tomei... for all the obvious reasons

The film's biggest draw is that of its cast. Director Brad Furman did a wonderful job filling in all the roles, even if most of them pale in comparison to McConaughey. The film is told from Haller's singular point of view, and it's fortunate that an actor of McConaughey's charm is in charge here. A perfect blend of charisma, humor and brains, Haller is practically written for McConaughey to melt into. The film suffers slightly for never straying from his side (it's probably the closest I've seen to a one-man show with an ensemble cast), but not so much that it permanently damages the relationship with the audience. I'll see Marisa Tomei in just about anything, so varied are her exceptional performances. She's just as good here, though her role as Haller's District Attorney ex-wife isn't the kind of award bait that her aging exotic dancer in The Wrestler was. Still, she does a great job and some of the film's best scenes are where we see both the good and bad in the relationship between the former flames. Sweet yet strained, it was a fully realistic pseudo-romance, enhanced by the stars' chemistry. That Tomei also played a smart, sophisticated woman as well is almost a bonus. William H. Macy is also good in a small role as Haller's private investigator friend, and solid performances abound from such varied talents as John Leguizamo, Josh Lucas, Frances Fisher, Bryan Cranston, Michaela Conlin, Margarita Levieva and Laurence Mason. Michael Pena as well is simply amazing, and while he is relegated to only two short scenes, his character proves to be so engaging and important that you really care what happens to him despite his brief appearance. The only real disappointment among this crowd is Phillippe, who has never been one of my (or many people's) favorites. The only film I've liked him in was last year's MacGruber, and then only because he was able to drop that uber-serious attitude he usually brings to roles not unlike this one. When all is said and done, he's given far too good a role to know what to do with, and doesn't pull it off convincingly. Still, with McConaughey in charge of just about every scene even this small annoyance barely makes a real fuss.

Get over it Matthew; Cranston has won more awards than you

If there's anything lacking here, it's the result of a rather lackluster ending that tries a little too hard to tie up all the loose threads. Compared to the rest of the film, it lacks the composure to be attractive to the audience and results in a bit of disappointment in comparison. Still, The Lincoln Lawyer is good enough to recommend to anyone looking for a fun movie, even if the subject matter is a bit more mature than Haller's one-liners. An ideal platform for Matthew McConaughey to dispel any thoughts that he can't do more serious fare, The Lincoln Lawyer tops out at #4 on the 2011 Top Films list. A lot of fun and a good old fashioned legal thriller, I think just about anyone can go into this film and more or less enjoy it.