The Return of Ryan Gosling

This is actually a flick I've been waiting quite a while to see. Gangster Squad was originally supposed to hit theaters in September, but met with controversy over the summer. See, the original trailer, which first aired back in May, featured a scene in which Los Angeles gangsters opened fire in a crowded movie theater in what was surely meant to be an ambush on the film's heroes. That's fine enough, but with the similar and tragic real-life Aurora, Colorado shootings, it wasn't exactly something they could include in the final cut. And so the trailer and the scene were dropped, the scene was relocated and re-shot, and in January we finally get to see Ruben Fleischer's noir cop drama, based on the crime reign of mobster Mickey Cohen.

In the late 1940's, Los Angeles is as corrupt as any city can get. Mafia boss Cohen (Sean Penn) rules ruthlessly, buying off the law and eliminating both those who oppose and fail him. When the chief of police Bill Parker (Nick Nolte) calls upon the likes of honest cops and WWII vets O'Mara (Josh Brolin) and Wooters (Ryan Gosling) to assemble an "off the books" squad to wage a guerrilla war against Cohen's operations, it's more an act of desperation as anything else. Cohen has such a stranglehold on the city that nobody else wants to even try to fight his criminal empire. O'Mara and his men have some initial success, but to truly end Cohen's reign, it might take more effort than six men are able to handle.

Be cool guys, be cool.

If you're like me, the words "Based on a true story" have little meaning in a Hollywood that doesn't hesitate to bend our outright twist the truth to benefit their narratives. Though several characters in the story - from Cohen to Parker to gangster Jack Dragna - are based on real-life counterparts, the film doesn't bother sticking to all but the basic truths about them. Even if I hadn't fact-checked a number of egregious falsehoods that the story presents, I still wouldn't have bought it; the action scenes - while mostly beautifully shot - feel too much like a video game, as heroes and villains alike fire endless bullets unless the lack of ammunition could be used as a quick plot device. This would have been welcome had this been a fantastical action piece a la The Avengers and not a gritty crime drama supposedly in the vein of LA Confidential. There are also major logic holes in the story, moments that make no sense in the sense of what we have followed, leading to confusion among the audience. Fleischer, who is better known for his comedies Zombieland and 30 Minutes or Less, is a bit out of his element here, opting to go for the classy visuals but not adding any real meat to the imaginative script.

Worse makeup than Joseph Gordon-Levitt in Looper.

Fleischer at least puts a competent cast in front of the camera, but he then wraps them around stock characters and so perfectly wastes their potential. Rising stars Anthony Mackie and Michael Pena are the Gangster Squad's requisite minority members. Robert Patrick is literally a cowboy, complete with duster and matching mustache. Giovanni Ribisi is the lone family man whose death is all but guaranteed. Nolte is the quintessential grizzled Police Chief. Ryan Gosling (returning after not appearing all of last year) and Emma Stone reunite for the first time since Crazy Stupid Love, and while they're hardly original as a smooth-talking Vice cop and a good bad-girl, respectively, they at least have the chemistry to make their on-screen romance work. The film ends up being owned by Brolin and Penn, though it's not easy. Brolin is a solid force, lacking in anything that makes him excellent or even charismatic, but maintaining his stoic leadership throughout his scenes. He's too used to performing dramas; Men In Black 3 perfectly exhibited his comedic abilities, and he'd be wise to pursue that vein. Penn meanwhile has to overcome horrible prosthetic makeup and a hammily-written caricature, but still manages to tap into the essence of the deeper character, brilliantly stealing more than his share of moments.

This one's for the ladies (and select gentlemen) in the house.

Still, despite Gangster Squad's liberal interpretation of history, quarrelsome script, boring title, uneven direction, dependence on style over substance, massive plot holes and wasted acting, I was found to be actually enjoying myself overall. Why? Fleischer keeps the story (as poor as it is) moving forward, and as cardboard cutouts go, the heroes were actually root-able to sufficient a degree. And in most cases, the director's manic action sequences are exciting enough if you keep expectations reasonable. It's not all that much of a movie, but at least for 2013 it's a step up from Texas Chainsaw 3D, and sits prettily at #1 for the year. Sure, I know Ryan Gosling fans were hoping for more from their hero after his star-turning 2010-11, but for that they may have to await the upcoming The Place Beyond the Pines or Only God Forgives, both slated for later this year. Gangster Squad is good for a bit of fun, but be sure to lower your expectations at the door.

Fighting Chance

There are some things that no matter how you suggest, advertise or promote, many people simply won't or can't change their mindset about. Professional wrestling will always be called a "fake" sport with soap opera dramatics. NASCAR will always be seen as entertainment for rednecks and a tactic to keep the South from rising again. Video games rot your brains. Baseball is slow and boring. The Twilight series is poorly written (or poorly put on the screen, take your pick). It doesn't matter how you argue against these statements, there are some people who simply will not be swayed no matter no intelligent or passionate your stance. Mixed Martial Arts is another in that long line, a sport that can trace its roots back to the ancient Olympic sport of pankration, in which men would fight one another using several methods to strike down their opponent or grapple him into submission. Criticized for being brutal and ultra-violent, MMA has gained a bad rap with many people, despite being much more civilized than Professional Boxing was in its heyday. As a relatively new sport, it's still fighting for recognition and respect from potential audiences. That's part of the reason Warrior, the MMA-inspired drama by Miracle director Gavin O'Connor, faltered severely when it went head to head with Contagion last weekend. The film seemed to have a strong stance going into the weekend, with many trailers and previews making it look like a blend of Rocky, The Fighter, and Miracle. It also headlined up-and-coming performers Tom Hardy and Joel Edgerton, not to mention the the comeback of former Academy Award nominee Nick Nolte. In the end however, it was the MMA tag that likely drove most of the prospective audience members away, as too many people who would have enjoyed this title were apathetic about giving this young sport any more attention than they thought it deserved.

Stop calling him Rocky!

When war hero Tommy Riordan (Tom Hardy) returns to his hometown of Pittsburgh, it is surprising that his first stop is the home of his father Paddy Conlon (Nick Nolte), who was a drunk and abusive husband and father when Tommy was young. Despite Paddy having been sober for almost a thousand days, Tommy isn't home to build bridges and catch up. Paddy was a skilled fight coach, and Tommy wants his father to help him train for an upcoming MMA tournament featuring the top sixteen middleweights in the world, with a five million dollar prize the largest purse the sport has ever seen. Meanwhile, Tommy's estranged brother Brendan Conlon (Joel Edgerton) is trying to raise a family on a meager teacher's salary that he has had to supplement by fighting competitively at bars, much to the chagrin of his wife Tess (Jennifer Morrison). Having been a former MMA fighter, Brendan has little problem handling small-timers with no experience, but he needs a ton of money to keep his house from being foreclosed, and therefore needs to improve his skills in the cage. With a lot of hard work (and a little luck) he manages to find himself in the same exclusive tournament. Eventually it comes down to brother vs. brother, and Tommy and Brendan must solve their differences both physically and emotionally before they can accept one another again.

"Warrior is a knockout!" Anybody use that tag line yet?

Ignore for a second the fact that this film is entirely predictable and smarmy to almost a fault. The story of a fractured family and a sport of violence somehow bringing it back together is so expertly told that  even though you know what is coming, the tale is rarely boring and never frustrates you with its overly convenient plot turns. With the exception of a brief midway collage of imagery of the two brothers training, the precision of the narrative is razor sharp, and the focus on each character is starkly different so as to make each feel remarkably unique. You want to root for Brendan because he's a dedicated family man and you think hard work should pay off in the end, but Emo Tommy is so full of ANGER that you just want to give him a hug and make his pain go away, before he puts the pain on someone else. That both heroes are likable for completely different reasons is a genuine feat, one that makes the finale that much more difficult to anticipate. That's right, you don't know who will come out on top in the end, but you DO know that you don't want either of them to lose.

The obligatory late night scene

This is in large thanks to the superlative cast that was put on full display. Hardy and Edgerton are two future superstars, and both are at the beginning of major career pushes that should see them become household names not too far in the future. Hardy is especially effective here as the soft-spoken but clearly enraged Tommy, looking for any outlet for his aggression and a cause to call his own. He steadily controls almost every scene, and one look at his body speaks epics about his commitment to the project. It's almost unfair to compare Edgerton to his cinematic brother, but the Australian actor does prove himself a top tier talent, successfully balancing between determined combatant and loving family man with ease. He also works well with Morrison, who gets a few chances to make herself known in the obligatory "suffering wife" role. It's Nolte though who will be absorbing the affection of voters come this award season. Playing a recovering alcoholic, Nolte is strong in his nuanced performance, which features him barely raising his voice but still being able to wring just about every emotion out of his wheezes. Even though he is rudely ousted by the film's end, if there's anybody here courting awards, it's Nolte; only the film's poor box office performance could deter that.

"Just don't maim too many people today, honey"

If there's one thing truly wrong with Warrior, it's the film packing so much into one standalone story. There is a TON of setup throughout the film in preparation for the finale, and even with the truncated training compendium I mentioned earlier this title still comes in at 140 minutes, almost a quarter of which is the climactic tournament. Fortunately much of the time goes smoothly and this extended playtime passes without any real issues. The narrative paces itself nicely, and the story is like a well-cultivated meal for the senses in the way it is told. It helps that there are the strong characters on which the tale can fall back, and that helps the time pass without any dull stretches. There are also a few cliches that could have been bypassed, such as a pointless secondary feud between Tommy and another fighter (Strikeforce star Erik Apple), or the unbeatable Russian (a call back to Miracle) fighter Koba, played by American former gold medalist Kurt Angle. These minor problems are made up for by the footage of the tournament, which plays out like a Greek tragedy on steroids. Even non-fans should be able to get into the struggle of each fight leading to the brothers' final encounter.

It's Cain and Abel with brass knuckles

For a moment I want you to put your MMA biases aside. Can you do that? Thank you. Warrior is so far the most ignored great movie of 2011. If you look at it objectively, you can see why I have it set at #6 for 2011. Excellent direction? Check. Great characters that draw you into the story? Check. Emotional baggage that ties it all together in a convincing manner? SUPER check. Even if the film's irregular vehicle of Mixed Martial Arts isn't your cup of tea, that shouldn't deter you from catching this film in theaters, where it is struggling without your help. Just because you're like me and not a fan of the sport doesn't mean you should allow yourself to miss out. Do yourself a favor and see it while it's still there.

Arthur's Reign

For as long as I can remember, my father has maintained this opinion regarding film remakes: the original is always better. Just about anyone can finger dozens of films that prove this, from Psycho to Planet of the Apes, The Wicker Man.to Flight of the Phoenix, Godzilla to Poseidon. It's far too mundane pointing out these obvious atrocities however, with such obviousness do they make themselves. It's true that Hollywood too often gets lazy when it comes to these titles, thinking all that's needed to appeal to both an existing audience and a young, fresh one is a tried and true story with name-brand stars and CGI. And yet for all the times my father was automatically right, I've seen several films that throw his timeless theory out into the streets. True Grit. The Ring. 3:10 to Yuma. Dawn of the Dead. The Thing. Many people don't know it, but Martin Scorcese's Oscar-winning The Departed was actually a remake of the Hong Kong thriller Internal Affairs. When done right, a remake might be even better than the original, even if the chances of that are fairly remote. And so that brings me to this day's review. Arthur is a remake of the 1981 film that starred Dudley Moore as spoiled, drunken billionaire who learns the true values of life and love. Arthur was nominated for four Oscars, won two, and is to this day considered among the best comedies of all time. Though a remake featuring British comedian Russell Brand would at first seem to land nowhere close to the level of quality put forth by the original, there was still some chance that the film might actually be pretty good, most notably in the castings of Helen Mirren and Jennifer Garner to back up Brand. And so I chose it this past weekend over Your Highness and Soul Surfer, the best of the rest from last week's new releases (of course having already seen the amazing Hanna), hoping for the best.

...And this is largely how Brand won his Arthur role...

Arthur (Brand) is a the fun-loving heir to the Bach mogul empire who finds himself in a fix when his disruptive and media-drawing escapades get him in deep water with his estate, most notably his mother (Geraldine James), who has never paid much attention to him and placed him in the care of Hobson (Mirren), his nanny since childhood. Embarrassed by his antics and knowing the distrust others place on the future of her company thanks to them, threatens to cut off his inheritance if he doesn't stop his childish ways. To that end, she arranges his marriage to Susan Johnson (Garner), a smart businesswoman in her own right who has interest in Arthur, though he really can't stand her. Instead, he randomly falls for tour guide/children's book author Naomi (Greta Gerwig), and the two begin a wonderful friendship. Soon, Arthur must choose whether to accept the marriage and with it his inheritance, or risk loving Naomi in poverty.

...And then he convinced Helen Mirren the film would be a good idea...

Every film director has to start somewhere, and this time it was Jason Winer's turn to make a dreadful debut. Winer comes in as one of TV's better talents, probably best known as one of the directors of the Emmy-winning series Modern Family. I don't watch the show regularly, but every time I do I can't help but love it. The show often weaves hilarity with heart, not an easy thing to do on a regular basis. Unfortunately, what works for a half-hour comedy show doesn't seem to work itself out over a nearly two-hour film. To be frank, Arthur is not humorous. All the funny stuff (if you can call it that) appears in the trailers or commercials you've already seen, and there's not one bit apart that seems even slightly entertaining. Winer shares in some of the blame, but even devoted Brand enthusiasts would be stretched to find anything to latch onto, unless you were as drunk as the the eponymous hero of the film while watching. With the exception of a few instances, there's remarkably little to laugh at, and Arthur often tries to establish itself as a serious narrative, despite featuring Brand on its poster.

You can just see Garner plotting her prison break

Perhaps the film's biggest obstacle is that in this day and age, billionaires just aren't as likable as they used to be. Long ago were the days of Little Orphan Annie and other stories in which rich folk were portrayed as benevolent and whimsical, almost like they were too good to be true. Unfortunately, in recent years we as a nation have been witness to Bernie Madoff and multiple other high-profile magnates, many who made their money by cheating the underclasses out of hard-earned dough. Even lesser-known moguls worldwide are often given lesser sentences for the heinous crimes they commit, further exacerbating the problem. Working class people have become so cynical that they simply don't trust the ruling classes, and so asking them to see a film featuring one, even a supposedly fun one like Arthur Bach, is as tough a sell as you can make.

Gerwig unveils her newest invention: the smoking children's book

To that end it's difficult to tell if Brand's performance is the worst I've seen this year or actually pretty good. Playing to the hilt the "spoiled rich boy" image, he really doesn't do anything differently than you've seen before, even in 2010's Shakespeare adaptation The Tempest. Brand's strength is not in acting; he's a comedian, and from what some have told me, a damned good one. He's certainly got a memorable image, and a public persona that demands attention. All the roles he's played up to this point have capitalized on that and only that aspect of his celebrity, and therefore barely qualify as characters and more as caricatures of the actor involved. Arthur is to a degree likable, but not so much that you can understand the attraction he presents to not one but two female leads. Helen Mirren is possibly the standout of the crowd, not surprising to anyone who's seen her perform. Taking a gender-bender with the role that netted actor John Gielgud an Academy Award in the original film, Mirren is amusing and inspiring, even when she's not actually in the scene. Sure, it's a step down, but she's still Helen freakin' Mirren! Yet it's Greta Gerwig with whom I found myself smiling more when the young actress was on screen. As the young, smart Naomi, Gerwig plays to the blue collars in the audience, working wonders in the process. She also has great scenes with Brand, and those bits with the two together are among the title's best. I was actually disappointed with Jennifer Garner. The actress, whose disappointing career showed a much higher ceiling with her guest-starring role in 2007's Juno, is pure movie villain through and through. Using the arranged marriage as a stepping stone to fame and fortune, Garner's character is so unlikable to the audience that it's implausible that she could at all be appealing to her fellow characters. Minor roles by Geraldine James (in another gender-swap), Luis Guzman and Nick Nolte are fine enough, but nothing to write home about.

Arthur's opening night audience

Arthur might have had the potential to be among the year's biggest surprises, but will end the year struggling to not be among its worst films. Failing to crack the Top 10 right now is not the kiss of death it was in March, but to do so on such an epic scale is disappointing to say the least. I definitely would not recommend it to you, fair readers, as while this month would seem to be a weak one for film releases overall, that's still not excuse enough to spend your money on this turd. If you have to see one movie this weekend in the theaters, I can name a dozen movies off the top of my head, including Hanna, Win Win, The Adjustment Bureau, Jane Eyre and Insidious. There's simply no reason to let Arthur get anywhere near that list.