Summer Shenanigans

With the Summer full of typical, audience-hungry blockbusters vying for your attention, it can often be difficult for an arthouse independent to gather much traction. I think that's why, when truly special ones are coming out, critics will give them platitudes such as "This year's Little Miss Sunshine", referring of course to the 2007 Hollywood darling that was a dark horse candidate at several awards ceremonies after its mid-July release. That could certainly be the upside for The Way, Way Back, the directorial debut of Nat Faxon and Jim Rash (Oscar winners for their screenplay of 2011's The Descendants). While there's certainly no shortage of quality indie films this year (many of which could be considered outside-shot Best Picture contenders), there's just something immediately special about this "Best Summer Ever" picture, which comes complete with an all-star cast, raging emotions, and a sufficient number of water slides.

Fourteen year-old Duncan (The Killing's Liam James) is miserable, forced to spend his summer at the beach house of his mother's pig-headed boyfriend Trent (Steve Carell) instead of being able to visit his dad, who lives across the country. While mother Pam (Toni Collette) goes along for the ride, Duncan's anguish is compounded by the embarrassing behavior of Trent's friends, the disdain he gets from his nemesis' teenage daughter, and his own inability to reach out and make new friends. That begins to change when he meets girl-next-door Susanna (AnnaSophia Robb) and chances into entrepreneurial slacker Owen (Sam Rockwell), who runs the Water Wizz amusement park. Soon, Duncan is able to ignore all his problems and enjoy growing up for a change. But when things escalate at the home front, the list of good things in Duncan's life might become much, much shorter, and his sometimes-excellent Summer may come crashing to an end.

 Quite the motley crew.

First of all, this is an excellent acting core that Faxon and Rash have assembled, starting with the relative newcomer James. His general morose demeanor throughout the film would suggest that the young man was playing a relatively one-note character, but it's the moments when he smiles or otherwise changes tack, the glimpses of a good time had, that the audience gets a feel for the veracity of his performance. While there are a number of talented actors in this cast, only James has the opportunity to truly carry the film, and that such a young man can do so is a testament to his ability. Rockwell and Carell also do wonders as the two father figures in Duncan's life. Rockwell is generally within his "likable goofball" wheelhouse, but also shows a tender and protective side when it comes to his new ward, again showing his (at times) surprising versatility as a performer. Carell, meanwhile, lets us thank the heavens that he can play something other than cheap Woody Allen knockoffs, and brings an excellent showing to this movie, his most impressive performance in years. What's interesting is that both characters are essentially imparting the same message to Duncan - get out there and do something - but while Trent wants nothing to do with Duncan outside that, Owen is more accepting and inclusive to the young man. The cast is rounded out by good-to-great performances by the likes of Robb, Collette, Maya Rudolph, Rob Corddry, Amanda Peet and the always-excellent Allison Janney. Even Faxon and Rash get in on the action, playing minor comedic roles along the way.

I've never hated Carell so much... and that's a good thing.

But these actors also have a great story to work with, one penned by the directors and dripping with Duncan's easily identifiable personality. It's quite effortless to sympathize with the young man as he searches for his own path through life, and Faxon and Rash exquisitely tap into that vein to tell a story that feels not like a cliched coming of age tale, but a true slice of the American experience. Yes, things do develop a little predictably, and it doesn't possess the sheer volume of surprise and heart that Little Miss Sunshine brought with it in spades. But in The Way, Way Back we see a realistic, down-to-Earth recounting of youth and innocence in a way rarely done right on the big screen. Duncan's life-changing summer might be a little bit calculable, but through its performance never is it dull or anything less than promising and encouraging.

Yup, this is where C.J. Craig vacations...

That's where The Way, Way Back stands, as a great but not groundbreaking acting tour-de-force that in reality is no more remarkable than the excellence of Mud or The Place Beyond the Pines but will still be remembered over those entries by viewers and critics this winter simply because of its effort in counter-programming the likes of Man of Steel, White House Down and Pacific Rim. It certainly worked for A Better Life, the 2011 film that had only a modest theatrical run but netted Demian Bichir a Best Actor nomination at the Oscars. Whether that will be the same fate for this film is anybody's guess, but there's no good reason to skip this movie when it soon makes its nation-wide expansion in the coming weeks. It may seem like I'm giving this title a ho-hum review, but I promise you that - while it's no Sunshine - if you give The Way, Way Back a chance, you won't be disappointed by your decision.

Didn't anybody ever tell you to never eat amusement park food??

Crazy

One movie I sometimes hear mentioned is 2008's In Bruges, the black comedy from director and screenwriter Martin McDonagh. The film, which has quickly become a cult classic, combined an interesting premise with a violent story, earning star Colin Farrell a Golden Globe for his performance and In Bruges itself a Golden Globe nomination for best screenplay. It was McDonagh's first feature film, and set him up as a director to watch in the future.

The future is here now, and his sophomore effort Seven Psychopaths seems to have it all; a high-caliber cast, an overdose of inappropriate humor and more than enough violence to keep you on your toes. I mean, come on; how can you not get excited about a film called "Seven Psychopaths"? In a weekend of four major interesting releases (the others being Argo, Sinister and Here Comes the Boom), McDonagh's was the most original and intelligent option. That's what Todd and I agreed, and what several of our friends and cohorts affirmed was the title to see.

They won't take any Shih Tzu

Marty (Farrell) is a struggling screenwriter depressed over his current state of writer's block. He's got a title in mind - Seven Psychopaths - but is having a hard time coming up with ides for the seven. He is assisted by his best friend Billy (Sam Rockwell), an out of work actor and part-time dog-napper who alongside the non-violent Hans (Christopher Walken) steal dogs from their owners and then return them for the reward money. The business is going well until Billy steals the Shih Tzu (the breed was picked I'm sure so the characters could purposely err in pronunciation) of violent crime lord Charlie Costello (Woody Harrelson). Marty gets caught up in the mess, and soon the three men are on the lam, with Marty hoping he can finish writing his movie before he becomes the victim of one of his Psychopaths.

This dog needs more cowbell!

There's one guarantee I will make about this movie; you will NEVER be able to predict what will happen next. From the intense violence of the very first scene, Seven Psychopaths follows its own individual path. Unlike every title out there. it doesn't follow the same trodden paths to the same boring conclusions, and refuses to confine itself to any particular genre. At some moments it's light-hearted comedy, at others Quentin Tarantino's wet dream. The characters, especially the eponymous Psychopaths (who are gradually introduced throughout), are so incredibly unpredictable that you will never see the next action coming, and the resulting surprise makes Seven Psychopaths unlike anything you have seen to this point.

"Fire Danger" is right!

The Psychopaths themselves are a varied bunch, whether they originate from real life or Marty's imagination. They range from simply bizarre (the Quaker Psychopath, for instance) to the intensely violent Charlie Costello. Each has their own quirks and back-story, and even if they appear only for a few minutes they make lasting impressions on the film. My personal favorite was the masked Jack O'Diamonds, whose gimmick was killing mid-to-high-ranking members of organized crime syndicates and leaves playing cards on their bodies. You never knew when he was going to show up, and you found yourself relishing every moment he did. But none of the psychos is unforgettable, and you'll find yourself following the bread trail as each is reluctantly brought to light and developed.

Move over, Uggie.

Surprisingly central to the story was the the interplay between Marty, Billy and Hans as they work on Marty's script. It's quite the mix of methodologies as each wishes to make their mark on the budding screenplay. Marty doesn't want to go down the cliched, violent road that you would expect from a film called Seven Psychopaths, while Billy practically demands the big shoot-out to take place at the end. Hans meanwhile, being a Buddhist by nature, wants a more peaceful conclusion to things. What's funny is that they're fighting about the ending of the movie they end up being in, and I thought it made for an interesting mix of Tarantino and Spike Jonze's 2002 gem Adaptation. The final act is especially well-woven, and makes for a fine and appropriate conclusion to a wickedly funny and insane narrative.

Abbie Cornish's five minutes are about up...

The film also takes advantage of an excellent, underrated cast that delivers both laughs and heart in a script that doesn't broker any weak performances. Farrell doesn't always get the best scripts, but he always puts everything he has on the table. Though playing an alcoholic Irishman wouldn't seem like much of a stretch, it's hilarious to see him get berated (even by the Psychopaths) for his excessive drinking. He always puts everything on the table in his performances, even when he isn't given the best scripts, and so on this screen his performance is genius. Rockwell, another supremely-talented actor, balances that dynamic by playing up Billy's zany antics and manic tendencies. What's great about Billy is his ability to do the absolute wrong things for the right reasons, and I can't imagine anyone besides Rockwell pulling it off.  It would have been interesting to see what Mickey Rourke could have done with the role, but I'm glad Harrelson eventually got to play of Charlie Costello. Continually proving that he has broadened as an actor since his Cheers days, Woody Harrelson has the right look and is as perfectly cast as one can get. So surprisingly is musician Tom Waits as a bunny-carrying Psychopath in a minor role. The ladies are sadly underutilized; with high-profile castings of Quantum of Solace's Olga Kurylenko and Sucker Punch's Abbie Cornish, and their appearances in the trailers, I was expecting more. Marty and crew do somewhat make up for it by joking about it later, but the only thing not making it a deal breaker is that this movie is really about the guys anyway.

"Alas, poor Yorick. I knew him, Horatio."

And the guy of the hour is most definitely Christopher Walken. Despite how much I loved the rest of this flick, there's no way I'd have enjoyed it half as much if not for his mere presence. There have been plenty of impersonators over the years, but the best continues to be Walken himself, who gladly uses his offbeat speech rhythm and deadpan facade to great effect. Whatever he's talking about automatically becomes comic gold, and when the subjects turn to the completely insane topics the film addresses, he reaches a whole other level. You could easily see this movie for him alone and walk away satisfied. Like John Malkovich, he is one of Hollywood's most unique actors, and it almost always worth watching.

"But where has all the RUM gone??"

But Seven Psychopaths is no mere one-man show. It's one of the best times you'll spend at the theater this year, and appropriately steps in at #7 for 2012. It will probably be little remembered by audiences who don't want a new experience when they visit the theater, but for anyone wanting something NEW and FRESH with their cinema experience, this one becomes a must-see. Get to it before Paranormal Activity 4 knocks it from theaters for good.

We Find the Defendant... Entertaining

As a birth-born resident of the city of Boston, I've always been interested in films that focus on cities or locations in the state of Massachusetts. Even if the films aren't of the higher quality (I'm looking at you, overrated Mystic River) the locations and aesthetics just feel like home, making the theater feel cozy and warm. And from the misty, haunted asylum of Shutter Island to the gritty Charlestown grotto of The Town to the blue-collar Lowell of Oscar-nominated The Fighter, 2010 was a big year for the Bay State. One that might have slipped under your radar however is this small gem that didn't do a lot at the box office, but nevertheless confidently tells the haunting true story of false imprisonment and uplifting redemption surrounding the Ayer arrest of Kenneth Walters in 1983. Conviction didn't draw much of an audience, mostly due to little or no marketing, and failed to capture even local Massachusetts audiences in the numbers other films handily made. The film even has heralded stars in two-time Oscar winner Hilary Swank and underrated performer Sam Rockwell. So how IS the film? I was interested enough to find out.

Let the record show that Juliette Lewis has forgotten her lines

Betty Ann Walters (Swank) is a mother and happy woman in the year 1983. Married with two children, she has a strong relationship with her brother Kenny (Rockwell), a devoted family man with a string of minor crimes on his rap sheet. When he's arrested for the murder of Ayer resident Katharina Brow, Betty Ann is the only one who seems to believe that he didn't commit the crime. The police match his blood type to the crime scene. Family and friends who have witnessed his violent ways in the past act nonchalant and surprised at this apparent development. Only Betty Ann, with memories of the caring and loving brother she grew up alongside, refuses to believe this. Over the span of eighteen years, the endeavors to complete her schooling, enter law school and pass the bar to try and get her brother's sentence overturned. Obstacles block her every path, but her resolution and determination drive her forward.

Whitey Bulger, however, walks free

When you first witness the blood-splattered crimes scene that is presented in the film's first few minutes, you might get the impression that you're in for a terribly depressing tale. The setup for the film follows this path, with scenes of Kenny's trial and sentencing and various flashbacks to the duo's unloved childhood painting a bleak picture for what is to follow. All that changes, however, when Betty Ann goes back to school and the rest of the film is as inspiring and uplifting as it had been dark before. It makes for a surprising turn, and I was pleasantly surprised how much better the film got because of it.

I didn't know the law library had copies of "Little Bo Peep"

The acting here is top notch, led by the simply amazing performances of Swank and Rockwell, who could easily have earned award nominations for their work had the film sold better and gotten more supporters. Swank especially is inspiring as the real-life crusader, who loses so much in pursuit of justice, not the least of which her marriage. Despite this, her single-minded quest to find her brother innocent makes for a riveting portrayal, one in which you find yourself wanting her to succeed against all odds. Rockwell is also amazing and surprisingly sympathetic as Kenny; I say surprisingly because, not to judge, but Kenny is played as kind of a dick. Short temper, bad relationship decisions, violent outbursts: everything that most people would hate, and most in the film as least are put off by his character. Kenny is given some saving graces: the obvious love he harbors for his daughter, and the care he's always had for his sister. Most actors would have fumbled this role but Rockwell (seriously, why couldn't he have gotten a nomination for the tragically underrated Moon?) manages to make the character someone to fight for, a mean feat in itself. A worthy supporting cast of Minnie Driver, Melissa Leo, Juliette Lewis, and Peter Gallagher fill the proper narrative holes with solid performances, though only Driver is given material substantial enough to stand out. This is a film that really relies on its stars to shine, so at least that part worked out.

Don't be sad, Hilary. We'll get you that third Oscar soon!

The film does have some problems, most notably the massive weight of the tale's message. Obviously the ability to perform DNA testing was a huge milestone for crime investigation, but the film's critical eye towards those detectives in not back-checking every murder and rape case to make sure they got the right guy is not a little overwrought. We're pretty much told outright that the law is corrupt and attempting to keep Kenny down, rather than being open to the possibility of simple incompetence. I was actually okay with this for the most part, but when Betty Ann tells one character that after eighteen years, Kenny "would be dead by now" if the state had instituted the death penalty, it was about as damning as you can get. Whatever your opinion on the death penalty, you can't help but be put off by the statement, as it seems to take the film in directions unneeded. But the biggest problem I had were the myriad flashback scenes showing how tough the main characters had it growing up. Some scenes would have been fine, but director Tony Goldwyn didn't know where to stop, forced only by the continuing narrative of the film to stop showing little kids pretend to be actors.

With a message so heavy it would make Kendrick Farris wince, it's fortunate that the strong story and inspiring acting keep the film on track and as uplifting as possible. While Swank and Rockwell should have gotten more attention for their performances, Conviction settles on that second tier of film quality, not quite good enough to run with the big boys but enough to recommend for a casual rental, or at least that's what this jury has concluded.