Don Jon

Joseph Gordon-Levitt is a pretty likeable commodity in Hollywood at the moment. That doesn’t change with Don Jon, but the star’s directorial debut, which he also stars in and wrote, deals with a topic not necessarily common in Hollywood. Gordon-Levitt plays Jon, who is committed to his family and church while also being a ladies man with a porn habit. When he begins dating a girl (Scarlett Johansson) with a strong liking for romantic comedies, unrealistic expectations for the opposite sex begin to make things difficult.

As an actor Gordon-Levitt is a strong lead for the film giving depth to his character that could have very easily been a 90 minute impression of “The Situation” from “The Jersey Shore.” Instead we get a guy happy with his life, who comes to a realization that his habits may not be as well-rounded as he thought. As for his direction, the film looks good, well thought out and composed for a hybrid audience of mainstream viewers and art house fans. Johansson and Julianne Moore, who plays Jon’s night school classmate, don’t come across with the depth Gordon-Levitt has however. In fact, all other characters are flat and serve a singular purpose.

Don Jon is not your typical September release. I don’t really know what month would be more fitting for the film because it’s different than all other releases this year. I’m not seeing the star turned director is the next Spielberg or anything, but there’s no doubt he went for it and aimed to make a strong first impression. The way the script addresses pornography in mainstream culture isn’t preachy in the least, but it still gets a point across about separating one’s thoughts from gender stereotypes. Don jon sends a message that Hollywood (and western culture in general) needs to hear. And it all came from the pen of the long-haired kid in “3rd Rock From the Sun.”

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Ain't Them Bodies Saints

After watching Ain’t Them Bodies Saints, I have no idea what the title means. Internet research tells me it means nothing. But I do know what the movie is about. Casey Affleck and Rooney Mara play a young couple torn apart after a robbery and subsequent shootout with the police. Affleck’s character goes to jail and Mara is forced to raise their daughter alone. He then escapes from jail to try and be with them. The two Oscar nominees give understated and strong performances for first time director David Lowery in the indie drama that was released to big buzz at the Sundance Film Festival.

Visually, Lowery does well making each shot count with impressive visuals to accompany the classic feeling plot. The simplicity of a jailbreak story to reunite a husband and wife is not anything new, but the emotional themes that confront Mara’s character in particular carry the film. Her main allegiance shifts from her husband to her daughter and that creates some tension filled scenes. Ben Foster, who plays, a cop Mara shot during that initial showdown proves to be a worthy foil for Affleck’s character, well-equipped with a mustache and cowboy hat. The movie does take place in Texas after all.

The story’s pace begins slowly but hits its stride as an engaging character story, well written and tension filled. After seeing Mara’s recent movie choices, this less tortured character suits her acting style very well as a quietly engaged and introspective mother. It’s not like she’s playing a character with a peachy life, but compare it to The Girl with the Dragon Tattoo and Side Effects and this is a cake walk. The film has flown under the general public’s radar to this point, but if it sneaked its way into a few award categories this season, it would be well deserved.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Butler

It turns out The Butler isn’t the big screen adaptation of the life and times of Geoffrey from “The Fresh Prince of Bel Air.” Instead it’s the much more serious, and real, account of Cecil Gaines. Gaines, played by Forest Whitaker, was born into slavery and worked his way up to become a White House butler serving under eight different presidents. Those presidents are all portrayed by different well-known actors in an often strange guessing game presented to the audience. John Cusack as Richard Nixon, is the strangest one. The plot follows Gaines and his family through the Civil Rights Movement and a number of other important historical events in a timeline through 20th century American history.

Whitaker shows his ability as a strong actor by developing his character through a number of difficult situations. He’s more believable as the middle aged version of Gaines than he is the young 20-something, but that’s probably because Whitaker is 52 years old. David Oyelowo plays the main character’s son, who becomes a Civil Rights activist progressing through the different movements. They include marching with Martin Luther King Jr. and dipping his toes in the Black Panther Party. This role allows for an emotional performance that leaves him sympathetic while being one of the main causes of drama in the story.

The film addresses a number of serious and personal topics to Americans who lived through the powerful moments depicted in the film. But the presidential acting choices mentioned earlier take the focus off of Whitaker’s character and on to the roulette of big names. Robin Williams, James Marsden, Liev Schreiber and Alan Rickman also play the commanders in chief. It also must be noted that the script does a great job of keeping things a-political for the first two acts, making the moments about the characters and the events not the ideology. But this shifts when Rickman’s Ronal Reagan takes office and a strange back and forth ensues where the story seesaws between how the character and the audience should view the conservative leader. It’s by far the clumsiest portion of the film. But The Butler is overwhelmingly a strong presentation of American history through the eyes of a likeable, unsung hero. With a strong script and quality lead performances, it is strange there is so much weight put on the supporting role casting.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

The Family

Can you think of an actor more fitting to play an ex-mobster than Robert De Niro? Well that’s exactly who he plays in The Family. After snitching on his people, De Niro’s character and his family are hiding out in France as part of the witness protection program. As the scorned mafia tracks them down, the family can’t help but make some noise by causing trouble in the small French town. De Niro is joined by Michelle Pfeiffer, Dianna Agron and John D’Leo as the titular family. Tommy Lee Jones plays the federal agent in charge of protecting them.

As a comedy, the film uses over the top action and violence to get laughs. It’s mostly successful, but no matter what kind of music they play in the background, a corpse wrapped in plastic in the trunk of a car still isn’t funny. But watching how a mafia family integrates into a quiet community is. So this hook carries the movie through the first act. Then the final confrontation is violent and gritty with all the gun fighting and explosions you would want. This blended genre does well to not over-commit and gives a strong middle of the road movie that has wit and tension.

De Niro provides his standard consistent performance as the calm retired crime boss who is always on the verge of snapping. Jones doesn’t offer too much with his scenes, but Pfeiffer does. Her character has the most depth as she addresses being an outsider and a parent. The performance’s authenticity is palpable when she encounters an angry priest disgusted with her past. Agron and D’Leo also do well rounding out the family. The Family is an adequate mafia movie alternative for those not too keen on seeing such prominent violence. Plus De Niro referencing Goodfellas provides an interesting meta moment in the film.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

One Direction: This Is Us

There were signs in the previews that One Direction: This is Us would be a more tolerable production than one would expect from a boy band documentary. Directed by big name filmmaker, Morgan Spurlock, the film follows current “it” band One Direction on their world tour with live concert footage and all the behind the scenes interviews you could possibly want to see. Spurlock does well to present the film with humor in the forefront, which makes it entertaining even for those who aren’t singing along to the songs. But I’m not going to pretend my toe wasn’t tapping along.

Similar to recent theatrical releases about Justin Beiber and Katy Perry, the film doesn’t go deep enough to present too much drama or conflict. Instead the most authentic moments come from the parents of the band members who are all on the verge of tears at the mere mentioning of their sons. It’s tough to feel sympathy for millionaires who found fame in their teens, but the being away from home theme provides an emotional aspect that allows the film to stay grounded.

What isn’t so grounded is the thousands upon thousands of screaming girls that follow the band wherever they go. This phenomenon pops up a bit too often on screen in fact. The screeching is repetitive and grating, but it also explains the cockiness and over-confidence the band members often employ. Beyond the fly on the wall look at the group, the main story arc is a bit muddled. It just goes city to city and there is never really a sense of closure beyond the final song in the concert. Is the tour over? Did the film crew’s all access pass run out? We don’t really know. All in all, One Direction: This is Us is a fun, straightforward documentary. Fans of the group and the target demographic will obviously enjoy it more, but for everyone else, it’s not so bad.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.

Closed Circuit

In Closed Circuit, the drama builds as the court case the whole movie is based around begins. But as the big moment arrives, I can’t take my eyes off the goofy wigs, the British where in court. How odd and old-fashioned. But that doesn’t mean the film is ineffective. Actually it’s quite the opposite. After a terrorist bombing in a crowded British market, an ex-couple are unexpectedly united on the suspect’s defense council. But the case isn’t nearly as straightforward as it looks. Eric Bana and Rebecca Hall star in the thriller filled with conspiracy and mystery.

The film’s crime hits close to home being released only a few months after the Boston Marathon bombing, but if the story is meant to be related to those events, it is done subtly and in a way that is not preachy. Early on, there is potential that the story might collapse on itself under piles of paperwork and dialogue. But luckily, the plot twists and turns with such frequency the audience can’t wait for the characters to talk and give out more information to explain the maze-like story. Bana and Hall are a great on screen pair, entirely believable and strong enough to be the base for a number of intriguing minor characters. Jim Broadbent and Ciaran Hinds also feature with success. Although neither one was tested very much.

Among the equal parts courtroom drama and action thriller, Closed Circuit has an ending that leaves something to be desired. It’s an outcome that often comes with these conspiracy movies. How can we tie this story up successfully? The resolution kind of wraps everything up into a bow while also providing a cop out of sorts. But there is no denying that the Bana led film is very intriguing. If it teaches us anything, be careful where you pick your nose because the government is always watching.

Each film earns either zero, a half or a full arrow in five categories. The categories are Acting, Writing/Directing, Emotion, Innovation and Overall Impression. The arrows are added up to equal the full score.