JOY Is a Great American Epic In Search of A Plot

 JOY Review:

- On paper, JOY seems like it's got the goods to be another successful David O. Russell / Jennifer Lawrence collaboration. But in practice, this one - while it has its moments - lacks the energy and momentum of Russell's recent films. Say what you want about Silver Linings Playbook and American Hustle, but both of those movies zoomed along with a constant barrage of sharp dialogue, visual fireworks, and quick-moving plotlines. JOY, on the other hand, feels like a would-be epic in search of a plot that can actually fill its over-two-hour running time. There just doesn't seem to be the raw material here with which to craft the Great American Story that Russell seems to be grasping for.

JOY tells the true-life story of Joy Mangano - a woman of modest means from a working-class Italian-American family. As a child, Joy was a dreamer and a maker of things - her doting grandmother was sure, and told her repeatedly, that she was destined for great things - and Joy thought so too. But then, life got in the way. Joy's father left her mom (his second wife), Joy got married young to a Venezuelan sometimes-singer, had two kids, and then got divorced soon after, and Joy got stuck living with her soap opera-obsessed mother and grandmother cleaning up after their messes. Also, her father and ex-husband moved back in - both live in the basement, even though they hate each other. Joy sees no way out of the less-than-ideal life she's fallen into, until one day, she strikes upon a spark of inspiration. After injuring her had while mopping up broken glass, she comes up with the idea of a self-wringing mop. It's a simple but clever idea, and Joy sees it as her ticket out and onward to a better life.

The first part of JOY is a lot of fun. Russell tends to be at the top of his game when he's directing scenes of rapid-fire comedic banter - and that's exactly what we get as we're introduced to Joy's dysfunctional family. Robert De Niro in particular is in top form here as Joy's dad. De Niro kills it as the owner of a body shop who, despite living in his ex-wife's basement, has quite the active dating life. Virginia Madsen is also really funny as Joy's homebody mom, content to stay curled up in bed all day watching her soaps. Out of the gate, it's a lot of fun just spending time with Joy's wacky family.

There's also a really well done sequence in which Joy pitches her Miracle Mop to the then-fledgling QVC shop-from-home TV station. Joy's astonishment at the TV studio, coupled with Bradley Cooper (as QVC head Neil Walker's) enthusiasm for the on-the-rise operation, makes for some really entertaining moments.

The problem here is that the interesting part of Joy's story is essentially over once she finds success through QVC. After that, there's lots of manufactured drama about finances and patents - but the emotional arc of Joy's story is already long-complete. The larger problem lies in the fact that Joy's story is a good one, but it's also a fairly simple one. And Russell seems to struggle to find the right angle with which to elevate it into a sprawling cinematic parable. Seemingly as a way to overcompensate for the lack of meat to this story, Russell layers in a lot of overlong music-set montages of Lawrence's Joy strutting her stuff and looking really determined and ready to take on the world. By the fourth or fifth time we've seen Joy dramatically put on a pair of sunglasses as if to say "yeah, I'm a badass now," well, we sort of get the point.

And so, it's up to the always-great Lawrence and the excellent supporting cast to really carry the film with their performances. Lawrence gives it her best shot - and she really is great. She makes potentially throwaway moments - like Joy grabbing a shotgun and doing some impromptu target practice to get out her aggression - memorable and iconic. But Lawrence does actually feel a bit miscast here. Joy as written seems like she's got to be someone worn and tired and aging. But Lawrence has too much youthful spunk and energy to be 100% convincing as someone who's had to raise two kids and two parents on her own. Still, Lawrence makes even the movie's draggiest scenes at least watchable, so there's that.

I will mention though that one of the best supporting cast turns here is Isabella Rossellini as Trudy - De Niro's new special lady friend, a rich widow who Joy hopes will be an early investor in her mop. Rossellini is hilarious here - playing a woman who increasingly reveals herself to be a left-of-center oddball, with all sorts of out-there ideas from her late husband about the cutthroat nature of business. 

JOY starts off pretty strong, but it loses a lot of momentum as it goes. It's clear from the beginning that this is a story about female empowerment and about how, with grit and determination, anyone can make it in America with the right idea. But I kept waiting for another spin on these ideas, a twist, turn, or some ultimate takeaway that would cap the movie off with a profound exclamation point. But that exclamation point never really came, and the film ends with more of a whimper than a bang. JOY feels like exactly the *kind* of movie that David O. Russell wants to make. But it doesn't quite feel like the movie it should have or could have been.

My Grade: B

AMERICAN HUSTLE Captures The Spirit of '78

AMERICAN HUSTLE Review:

- David O. Russell's latest, AMERICAN HUSTLE, is a stylistic exercise in 70's-era excess - packed to the brim with big-name stars, over-the-top moments, and energy to spare. You might call it Scorsese lite. The film pays homage to the twisty, whip-crack narratives of films like Goodfellas and Casino, and borrows heavily from Scorsese's trademark crime-as-rock-n'-roll aesthetic. The "lite" part comes from American Hustle's relatively breezy plotline. Whereas Scorsese's crime films are about dangerous men doing dangerous things, Russell's movie is about con-men, poseurs, and wannabes trying to be something other than what they really are. So the "lite" label isn't a knock - instead, the jokiness and satirical nature of the film is intentional, a mirror of the characters, their rather absurd schemes, and of the era in which they lived. A flip disclaimer at the top of the film claims that it's only partially based on true events. As American Hustle progresses, you can see why: this is a film less about capturing the details of what really happened, and more about capturing the spirit of 1978 - in all of its gaudy glory.

The film follows small-time partners-in-crime Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) - two opportunistic con-artists who meet at a party, bond over a shared love of Duke Ellington, fall in love, and quickly go into business together - dealing forged art and handing out fake loans. The film opens with a painfully comic scene in which we see Irv put in place an absurdly elaborate comb-over, and from the get-go, it's clear that he is a man living out any number of lies upon lies. In fact, Irv's marital situation is revealed, at least at first, as merely a casual inconvenience. We soon find out though that Irv is married to a piece-of-work woman, Rosalyn (Jennifer Lawrence), and has a young son, which further complicates his relationship with Sydney. Sydney, meanwhile, has taken to using an English accent and telling prospective clients that she can get them a large and quick loan through banking connections in London. Soon enough, she all but completely hides her true self from others. Eventually, Irv and Sydney's scams attract the attention of an ambitious FBI agent, Richie DiMaso (Bradley Cooper). Rather than simply apprehend the pair, DiMaso has plans to use them to achieve a larger goal: utilizing Irv and Sydney's con-artist expertise, he plans to set up and entrap a number of high-profile politicians, convincing them to take political funds from disreputable sources, including the mob. One of the key targets: a well-meaning, much-loved politician - Mayor Carmine Polito (Jeremy Renner), who Irv and Sydney must set up to take a big fall. This is all based on the real-life ABSCAM operation that was run by the FBI in the 70's.

Like I said, AMERICAN HUSTLE is populated by a total all-star cast, and just about every star shines brightly. My pick for MVP of the film is Christian Bale. His Irv feels like the most nuanced, well-rounded character in the movie - a guy who was taught from a young age to succeed at all costs. Irv is a walking contradiction: an outwardly smooth operator who bottles up stress to the point where he frequently collapses and needs emergency heart medication. He's madly in love with Sydney, but can't bring himself to run away with her, for fear of abandoning his son (he'd likely leave his unhinged wife without a second thought). Aside from the character work that Bale puts into Irv, the sheer physical transformation is pretty astonishing. Bale walks with a slight hunch and a hint of pain, he moves deliberately but confidently. He inhabits this character to the last detail.

Amy Adams is also pretty spectacular as Sydney (aside, even, from her rotating wardrobe of plunging-neckline dresses). It's incredible to me how versatile of an actress she is - she's played everything from Disney princesses to tough Boston broods to Lois Lane - but here, she again knocks it out of the park. Sydney parallels Irv in many ways. Outwardly, she's glamorous and sharp and magnetic. But beneath the surface is a troubled woman harboring a lot of sadness, rage, and a major identity crisis.

Bradley Cooper emerged as a legit actor in David O. Russell's last film, Silver Linings Playbook - and his hot streak continues here. Cooper is funny and semi-disturbing as DiMaso, who is prone to Pesci-like bouts of violent rage, and whose "good guy" status as an FBI agent is seriously compromised by his propensity for lying and manipulation. He plays DiMaso as a coked-up, hyperactive guy who is semi-blinded by ambition. Despite his denials, he clearly wants to be the guy to find and expose the next Watergate scandal.

As for Jennifer Lawrence, she's great as Rosalyn, although it's the one part that feels a little like stunt casting. Lawrence is capable of playing older than she is, but it still feels like this boozy, had-it-up-to-here housewife character was meant for an older actress. Even so, Lawrence turns in a typically fantastic performance, and she nails the kind of melodramatic, comedic tone needed to really sell the part.

The film is also littered with great supporting performances. Some of them are, I think, supposed to be a bit of a surprise, so I won't spoil them all here. But I will say that when you've got even minor roles in a film filled by great actors like Shea Wigham and Jack Huston of Boardwalk Empire, you know you've got a stacked cast.

What's interesting about the film is how lies bleed into truth and vice versa. Sydney's insistence that she cozy up to DiMaso to get a leg up on him becomes real-life mutual attraction. Irv's dealings with Polito form a genuine friendship between the two that makes Irv question his plans. And Rosalyn ends up getting mixed up in Irv's plans after she becomes a favorite of Polito and his wife. Through it all, Irv and Sydney get pulled apart, played against one another by DiMaso, and see a rift form between them. But they keep circling one another - and the movie posits that, perhaps, their relationship is the one real, true thing in this whole crazy mess.

AMERICAN HUSTLE suffers a bit from a problem that plagues too many films these days: it's too long. While I normally am a long-film apologist, this one definitely feels dragged out beyond what was needed to tell its story most effectively. Part of the problem is that the movie seems to stumble a bit, in general, to figure out what it's all about. There are some obvious overarching themes - some of which I've talked about above. But sometimes, the movie feels unpredictable in a way that's not necessarily good - meaning, there's a sense that Russell and co-writer Eric Singer are trying to figure out, as they go, where and how things end up for these characters. Whereas the Scorsese films that this emulates tend to play out like clockwork, American Hustle seems messier and less sure of itself. The emphasis is on the style (prepare to be wowed by a psychedelic disco scene) and the big, melodramatic moments. But the plotting ends up taking a back seat.

Still, as a style exercise, the film is second-to-none. And as I've insinuated, the movie's semi-hollowness is, in a strange way, keeping with its biggest theme. Just as DiMaso's entrapment plan is really a desperate career-advancement move disguised as a noble pursuit of justice, you might argue that AMERICAN HUSTLE is gaudy kitsch disguised as serious cinema. But hey, that's okay, because that's the point. That may, ultimately, prevent this film from being held up alongside the Scorsese classics it's being compared to. But it does not, certainly, prevent it from being one of the most dazzlingly entertaining films of the year.

My Grade: A-

SILVER LININGS PLAYBOOK Is Gold

SILVER LININGS PLAYBOOK Review:

- I went into Silver Linings Playbook knowing very little about the film, and I came away fairly shocked by how great of a movie this turned out to be. Throw away any preconceived notions about the film based on its marketing - this is a dark comedy that definitely does not fit neatly into any one genre. There are elements of screwball and romantic comedy, shades of psychological character studies, and bits of slice-of-life quirkiness. But the sum total is an unexpected surprise - one of the year's flat-out funniest films, and also one of its most joyous and applause-worthy. There's a Little Miss Sunshine-style vibe to this one, and the  film's pleasures are felt all the more deeply thanks to the outstanding, awards-worthy cast. David O. Russell has made a great film in SILVER LININGS PLAYBOOK. I mean, look, most people will tell you that I have a strong distaste for overly sentimental rom-coms that go for cheap melodrama. But I'll admit, I wanted to stand and cheer as this movie raced towards its well-earned climax.

Like many, I don't know why, exactly, but I've developed sort of a distaste for Bradley Cooper over the last several years. Maybe it was ill-will from the annoying Hangover franchise, maybe it was the endless string of lame starring roles of late, but I wasn't running to see a prestige flick with Cooper in the lead. After seeing Silver Linings Playbook ... scratch all that. Cooper is phenomenal in this one, playing Pat, a mentally-ill guy freshly released from the psych-ward - trying to restart his life, going back to live with his overbearing parents in small-town suburbia. As Pat, Cooper is a tightly-wound ball of chaos - speaking in an awkward, unfiltered manner that makes those around him cringe. Cooper brilliantly shows Pat in various degrees of psychosis - at times, you can see him reigning himself in and doing his best to fit in. Other times, he comes unspooled, lashing out, lacking social graces, becoming fixated and obsessed with certain things or ideas. David O. Russell's adapted screenplay of the novel by Matthew Quick gives Pat all sorts of recurring fixations - a song that drives him insane with rage whenever he hears it, for example. But Pat isn't just some crazy guy - Cooper and Russell mold him into a fully fleshed-out character that feels real and plausible, even if his particular brand of crazy isn't necessarily "real-world" crazy. But I give Cooper a ton of credit - this is easily his best screen performance ever, and it's one that casts him in a new light as a legitimately great actor capable of Oscar-worthy turns. I am now a Bradley Cooper fan.

And yet, equally awesome is Jennifer Lawrence. This girl is mind-blowing. She's been consistently fantastic in everything she's done, and yet she's played completely different characters in each of her films so far. She's certainly never played anyone like Tiffany before. Her character in this film matches Cooper's crazy pound for pound. They're two peas in a crazytown pod. But Lawrence gives Tiffany a brilliant madness all her own. Like Pat, she is a wounded soul with a lot of darkness inside her. But Lawrence plays her a vulnerable yet badass, manipulative yet gullible, totally lovable yet scarily unhinged. It would be easy for this character to come off as just the usual manic pixie dreamgirl type. But Lawrence takes the character to another level ... making her fully-formed, fully-developed, with a subtlety and a nuance that is rare for this sort of character. Point being, she's far, far from just being the stock love-interest. It's her movie as much as it is Cooper's. And in fact, this is one of my favorite performances of the year so far. How often does a character start off as weird and semi-off-putting and then make you want to stand up and cheer for her by movie's end? Lawrence has the acting ability equal to any other actress out there - yet's she's also got the movie star ability to make audiences fall in love. What I'm trying to say is: can Jennifer Lawrence just be cast in everything?

Oh, and then there's Rober De Niro. Whoah. Someone woke the slumbering giant and lit a fire under De Niro - this is the best acting from him I've seen in years. As Cooper's father, De Niro plays a guy who seems to be  the level-headed one in the family, but who slowly reveals his own obsessions and mental instabilities. Like father, like son. His character sort of drives home the movie's central message - we're all a bit crazy, but if we stick together, we can shake off the cobwebs that keep us down and move forward with out lives. But man, De Niro is just great - he's got some moments of true hilarity in the film, and some that are guaranteed  to not have a dry eye in the house.

Jacki Weaver is also great as Cooper's beleaguered mom. So too is Anupam Kher as his beleaguered psychiatrist. John Ortiz is also a scene-stealer as Cooper's best friend Ronnie - married to a ball-and-chain of a wife (Julia Stiles), Ronnie is a great and often hilarious counterpoint to Cooper - a mild-mannered everyman on the outside, but with plenty of pent-up rage within. And, oh, I have to mention Paul Herman as Randy - De Niro's old buddy who constantly bets against his friend in a series of ridiculously escalating wagers. I found it incredibly funny - yet oddly touching - how these two old guys are in a fashion so cruel to each other, and yet they sort of thrive off of their competition and remain friends despite it all. Finally, Chris Tucker is in this movie. And he is actually really good, and fairly restrained (for Chris Tucker). As an escaped mental patient who is fiercely loyal to Cooper, he is a great asset to the film.

The film perhaps works best if you don't know a ton about the details of its plot going in. The story is told in such a way that a lot of plot insight is revealed gradually, with many twists as the film goes. It's a fascinating take on the Unreliable Narrator conceit, as the version of events we originally hear from Pat - about his reasons for going into the mental hospital, about his relationship with his wife, about his life in general - well, there's clearly more there than he initially divulges. And the movie becomes so engrossing partially because it's about the lies we tell ourselves, and about the need to break through and accept things as they really are ... not just how we perceive them to be in the fantasy-version of our lives that we've created. And therein lies one of the key distinctions between Pat and Tiffany. Pat lives a fiction - he's constructed a narrative around his life where he is the victim, the hero, the misunderstood genius. But Tiffany - she's comically upfront about all of her failings and mistakes.

Ultimately - yes, there is romance in this movie - but I'd argue that it's not a movie *about* romance so much as it is a movie about breaking through our inner cloud of chaos, and finding some sort of sanity in a mostly insane world. Just about every character in the film surprises by not being what they seem. And SILVER LININGS PLAYBOOK surprises by being much, much better than perhaps it looks on paper. Director David O. Russell brings his A-game. The direction is at times personal and in-your-face, at times sweeping and cinematic. But it has a sort of ADD, chaotic quality that mirrors Pat's chaotic mind. I loved the script of the film as well. The dialogue is fantastic, and the script somehow feels both naturalistic and cinematic in the best way possible. My only main gripe - and I suspect this will be the gripe of many ... is that the ending of the film just feels ever-so-slightly too neat and clean. Given how complex these character are, I felt slightly let down that Russell sort of wraps things up in a bow as the credits begin to roll. Even just a single added moment - a reminder that, for these characters, things would always be at least a little messy and weird - would have helped. Don't get me wrong ... the feel-good moments in SILVER LININGS PLAYBOOK are some of the *most* feel-good, most well-earned, most applause-worthy moments I've seen in a movie of this sort. But most of the film balances out those moments with some real darkness and complexity and characters who you like and root for, but who also feel genuinely screwed-up and off-kilter. Mostly though, the film has a sort of gleeful chaos that reminded me of the uproarious family scenes in Russell's previous film, The Fighter.

With an incredible cast and a just-right mix of humor, heart, darkness, and quirk, SILVER LININGS PLAYBOOK was one of the big movie surprises of the year for me in 2012. I'll put it right up there towards the top of my list for movies of the year.

My Grade: A-