Year: 2009 (U.K Release 2010)
Director: Niels Arden Oplev
Screenplay: Rasmus Heisterberg, Nikolaj Arcel
Starring: Michael Nyqvist, Noomi Rapace
Plot synopsis is here
This week there was rumblings that that English language remake of The Girl with the Dragon Tattoo in the works may fall into the hands of David Fincher (he is looking more like James Cameron by the day). It's interesting (read not surprising) that Fincher would be looking at such a project because to me The Girl with the Dragon Tattoo feels a lot like a Swedish Seven. Those last two words placed together should either freak out those who hate the idea or get fans even more intrigued.
Based on the first novel of Stieg Larsson's The Millennium trilogy (Original Swedish title is the very aptly named Men who hate women), Niels Arden Oplev's film is a heavy one. Not only does the film have enough graphic imagery to make someones crotch crawl back into themselves, but the dense plot strands demand your attention throughout the 152 minute running time. This isn't your average crime thriller, but a headstrong, character driven beast which might take a while to get into but was never uninteresting in the slightest.
A website I frequent, compared the film to the Da Vinci code, finding the plot to be too heavily based on computer searches to be appealing. This is something i disagree with, as it's the characters (considered cold and stereotypical in the same review) which we follow that make the film so appealing. The plot may be more than a little "out there" but the burning intensity that Noomi Rapace gives the character Lisbeth kept my eyes glued to the screen. A resourceful yet emotionally stunted girl, who hides her secrets with her brilliant ability and upfront attitude. Her outward look shows a woman who is always in control and yet the tiny inflections and fragile glances by Rapace barely conceal the character's vulnerability. It's a woman who is no damsel in distress (watch her fight) but is still struggling to cope with a deeper inner conflict. Stereotype? To some. Absorbing? Most definitely.
Plaudits should also go to Michael Nyqvist whose "lost" face is actually one constantly fraught with disillusionment. Divorced, with an upcoming jail sentence looming; he takes a job he really wasn't sure about in the first place and find himself in a web of what may or may not be a conspiracy which could destroy what's left of him. Forgive him if he's not filled with a more fiery spirit. Nyqvist's Mikael Blomkvist is the calm "straight man" to Rapace's intense Lisbeth. The two work superbly in tandem so it's it's even more ballsy to keep the two separated for the narrative's first hour allowing the film to focus on building the characters of both.
As a thriller, TGWTDT is a constantly engrossing; it's admittedly outlandish story is still one of entertainment and solid internal logic, it's moments of humor are strangely playful amidst the morbid themes (Race, Misogyny, Greed) that are raised within the narrative. Director Niels Arden Oplev takes time in telling the story and still had me wanting to know what happens next to these characters. I have got long to wait as the second part of the film is on it's way very soon. If Fincher gets his hands on the project, then I expect the same level of interest.
Friday, 19 March 2010
Friday, 12 March 2010
Review: Shutter Island
Year: 2010
Director: Martin Scorsese
Screenplay: Laeta Kalogridis
Starring: Leonardo DiCaprio, Mark Ruffalo, Sir Ben Kingsley, Max Von Sydrow, Michelle Williams
Plot Synopsis is here
Note: This review has been written to try and avoid spoilers and it should give anything in the story away. However inquisitive readers may put what they've seen from the trailer, other sites and what I mention in the early paragraphs and put somethings together. You have been warned.
Shutter Island is a movie I will need to see again. One because I loved it, and two because I found the screenplay (Night Watch's Laeta Kalogridis), so neatly placed together, working so well with Scorsese graceful direction makes sure that at the end of the film, it has kept the same air of logical ambiguity that we entered.
We shouldn't look at this film for absolute reasoning. The films mood (Likened by Roger Ebert to a haunted house movie), atmosphere and themes forbid it. It's obvious from the violent rainstorm outside, the spiraling staircases and maze like quality of certain areas of the Shutter Island mental hospital, that the film takes place within the recesses of the mind. Of course we all know that when we think, normally the thoughts, flash backs and/or otherwise are always fractured, they never appear in true clarity.
With this knowledge in tow, I fully appreciated the films dream logic. Like A Nightmare on Elm street, Scorsese films the piece in such a way that you never truly know which scenes are real and which ones are not. It revels in surreality almost to the point where at the end, where what could easily have been a terrible plot hole in an inferior movie, could merely be askew judgment from a twisted perspective. Many have felt that the trailer, that has been played for so long due to the unfortunate delay of the movie may give away too much. But no, Shutter Island keeps it's cards close to it's chest and still manages to make a viewer second guess what they're seeing.
It's a fantastic turning of the screws from the film's screenplay that does it. Detectors have stated that the script is patchy. I disagree. It is purposely hazy and Scorsese masterful direction play on our need for reasoning constantly. We focus on certain things because he wants us to, questioning aspects to make us forget others. A second viewing of this film will reveal more to us because our prospective will have changed. We will look at characters again in a different light and respond and react differently...perhaps. What makes the film so devilishly enjoyable that the second viewing may leave you in the dark or shed more light on the conclusion, such is the delicate handling of the work.
Performance wise, DiCaprio puts in what I consider to be his finest work. The boyish image is gone and a harden look has taken it's place. It's interesting that the other 50's period piece that he was in; Revolutionary Road had him overacting the role with a shouty "look at me" display which did nothing but point out what could be is flaws. DiCaprio is better in films like this where he's allowed to be a but more introspective and restrained, with flashes of emotion. He slips into the hard boiled role with ease and by the film's climax I was truly won over.
He is also surrounded by great character acting talent. It might feel like a bit of a conveyor belt of talent, rolled out to do "their little bit" but it gels so well with the narrative, that nagging feeling can easily be ignored. I could be here forever talking about Jackie Earle Haley's intensity, the wonderful chemistry Mark Ruffalo shares with DiCaprio or the pivotal scenes which have excellent moments from Patricia Clarkson and Emily Mortimer or even the uneasy clam that Sir Ben Kingsley provides....oh and Ted Lavines sleazy.....see?
It's easy to mark on the films Scorsese has been influenced by and talk about them. A bit of shock corridor here, a touch of vertigo there, a sprinkling of film noir, however as a genre piece of it's own the film works fine. It's gorgeous cinematography may have film buffs hooting and hollering but those who haven't seen the aforementioned films can enjoy this as well. The references don't feel obvious and tacked on. They are constructed to help highlight the emotions and mindset of the film not just to show the filmmakers knowledge.
Dripping with a tension and dread I haven't felt since my first viewing of Ringu, Shutter Island is a film that really did a number on me. It's a film that I can't wait to obtain on DVD, and had me considering on watching it again as soon as I can. Some have bemoaned that it's not as good as Goodfellas, Raging Bull and the like but I don't mind. This is Marty in his comfort zone, creating a genre piece that still has so much to absorb and inspire. Gushing period is over. I think I've found a film that I'll be still talking about at the end of the year.
Director: Martin Scorsese
Screenplay: Laeta Kalogridis
Starring: Leonardo DiCaprio, Mark Ruffalo, Sir Ben Kingsley, Max Von Sydrow, Michelle Williams
Plot Synopsis is here
Note: This review has been written to try and avoid spoilers and it should give anything in the story away. However inquisitive readers may put what they've seen from the trailer, other sites and what I mention in the early paragraphs and put somethings together. You have been warned.
Shutter Island is a movie I will need to see again. One because I loved it, and two because I found the screenplay (Night Watch's Laeta Kalogridis), so neatly placed together, working so well with Scorsese graceful direction makes sure that at the end of the film, it has kept the same air of logical ambiguity that we entered.
We shouldn't look at this film for absolute reasoning. The films mood (Likened by Roger Ebert to a haunted house movie), atmosphere and themes forbid it. It's obvious from the violent rainstorm outside, the spiraling staircases and maze like quality of certain areas of the Shutter Island mental hospital, that the film takes place within the recesses of the mind. Of course we all know that when we think, normally the thoughts, flash backs and/or otherwise are always fractured, they never appear in true clarity.
With this knowledge in tow, I fully appreciated the films dream logic. Like A Nightmare on Elm street, Scorsese films the piece in such a way that you never truly know which scenes are real and which ones are not. It revels in surreality almost to the point where at the end, where what could easily have been a terrible plot hole in an inferior movie, could merely be askew judgment from a twisted perspective. Many have felt that the trailer, that has been played for so long due to the unfortunate delay of the movie may give away too much. But no, Shutter Island keeps it's cards close to it's chest and still manages to make a viewer second guess what they're seeing.
It's a fantastic turning of the screws from the film's screenplay that does it. Detectors have stated that the script is patchy. I disagree. It is purposely hazy and Scorsese masterful direction play on our need for reasoning constantly. We focus on certain things because he wants us to, questioning aspects to make us forget others. A second viewing of this film will reveal more to us because our prospective will have changed. We will look at characters again in a different light and respond and react differently...perhaps. What makes the film so devilishly enjoyable that the second viewing may leave you in the dark or shed more light on the conclusion, such is the delicate handling of the work.
Performance wise, DiCaprio puts in what I consider to be his finest work. The boyish image is gone and a harden look has taken it's place. It's interesting that the other 50's period piece that he was in; Revolutionary Road had him overacting the role with a shouty "look at me" display which did nothing but point out what could be is flaws. DiCaprio is better in films like this where he's allowed to be a but more introspective and restrained, with flashes of emotion. He slips into the hard boiled role with ease and by the film's climax I was truly won over.
He is also surrounded by great character acting talent. It might feel like a bit of a conveyor belt of talent, rolled out to do "their little bit" but it gels so well with the narrative, that nagging feeling can easily be ignored. I could be here forever talking about Jackie Earle Haley's intensity, the wonderful chemistry Mark Ruffalo shares with DiCaprio or the pivotal scenes which have excellent moments from Patricia Clarkson and Emily Mortimer or even the uneasy clam that Sir Ben Kingsley provides....oh and Ted Lavines sleazy.....see?
It's easy to mark on the films Scorsese has been influenced by and talk about them. A bit of shock corridor here, a touch of vertigo there, a sprinkling of film noir, however as a genre piece of it's own the film works fine. It's gorgeous cinematography may have film buffs hooting and hollering but those who haven't seen the aforementioned films can enjoy this as well. The references don't feel obvious and tacked on. They are constructed to help highlight the emotions and mindset of the film not just to show the filmmakers knowledge.
Dripping with a tension and dread I haven't felt since my first viewing of Ringu, Shutter Island is a film that really did a number on me. It's a film that I can't wait to obtain on DVD, and had me considering on watching it again as soon as I can. Some have bemoaned that it's not as good as Goodfellas, Raging Bull and the like but I don't mind. This is Marty in his comfort zone, creating a genre piece that still has so much to absorb and inspire. Gushing period is over. I think I've found a film that I'll be still talking about at the end of the year.
Thursday, 11 March 2010
Review: Green Zone
Year; 2010
Director: Paul Greengrass
Screenplay: Brian Helgeland
Starring: Matt Damon, Greg Kinnear, Brendon Gleeson, Jason Issacs, Amy Ryan
Synopsis is here
Those who are adverse to the shaky cam techniques, that Paul Greengrass uses his two Bourne movies will do well to avoid Green Zone. The chaotic and sometimes madding use of this camera style is all over this film in droves and despite it giving us the immediacy and energy the green zone needs, the blurry out of focus shots and hyper editing is sometimes distracting and can lose the sense of place needed for the action set pieces to make a stronger impact.
However, Greengrass a director that can still manages to utilize this style and still bring about tension and advance a films plot. Case in point: In a pivotal scene between Millar (Matt Damon) and Briggs (Jason Issacs), Greengrass' roaming, almost rabid visual style almost blurs alot of the actual fight but the shot that most important to the narrative reminds in the viewers eye. There's method to the madness it seems.
Visual style aside, Greengrass as made a good solid action thriller with slight political asides. It has a complex but not complicated plot that had me gripped in it's quieter moments and while it may feel a bit too preachy and liberal for some, there's still enough in the story to make you stop and think. I will say however there maybe some out there who will watch Green Zone and feel that the film has told them nothing they don't already know.
What's most interesting about the film for me was it's presentation of it's characters within the films narrative, the antagonists in particular. Its villains are seeped in shades gray. Some motives are clearly underhanded but seemingly for the good of people while others obey orders from their bosses and do not question their higher ups. The crux of the film lies on information from a source who may or may not have been telling the truth, which once again begs the question: Were the Allied Forces far to willing to go to war? The film does well not to answer this fully but leave enough residue to the viewer into what they might think.
Strangely despite looking at the war from a different angle, I found it gels well with the addiction to aggression themes displayed in newly Oscar crowed The Hurt Locker, suggesting that no matter what war may be in our blood and despite our evolution we may just be finding civilized way to feed the primal. With this said Greengrass and screenwriter Brian Helgeland do well to make that despite the questions asked, the film keeps a good pace and remains enjoyable.
It helps when you place a top of his game Matt Damon and a handful of great character actors to head the cast of the film. Damon's character may feel like Jason Bourne with more memory and less martial arts, that everyman charm that was in said trilogy once again shines through in spades. Everyone else (Brendon Gleeson, Amy Ryan, Jason Issacs et all) put in some good work but for me the other stand out of note was Greg Kinnear who provides a Cater Burke feel when ever he's on screen, even when doing nothing....maybe that says more about how I feel about Greg Kinnear!
With both Green Zone, The Hurt Locker and many other films that have appeared in the last few years, it has shown that the war and it's issues have become more open topic to the world of film. As the war rages on it appears that filmmakers are beginning to create mature and yet entertaining works on a difficult subject. Green Zone may feel like Bourne meets Modern Warfare 2 but isn't afraid to ask questions either.
Director: Paul Greengrass
Screenplay: Brian Helgeland
Starring: Matt Damon, Greg Kinnear, Brendon Gleeson, Jason Issacs, Amy Ryan
Synopsis is here
Those who are adverse to the shaky cam techniques, that Paul Greengrass uses his two Bourne movies will do well to avoid Green Zone. The chaotic and sometimes madding use of this camera style is all over this film in droves and despite it giving us the immediacy and energy the green zone needs, the blurry out of focus shots and hyper editing is sometimes distracting and can lose the sense of place needed for the action set pieces to make a stronger impact.
However, Greengrass a director that can still manages to utilize this style and still bring about tension and advance a films plot. Case in point: In a pivotal scene between Millar (Matt Damon) and Briggs (Jason Issacs), Greengrass' roaming, almost rabid visual style almost blurs alot of the actual fight but the shot that most important to the narrative reminds in the viewers eye. There's method to the madness it seems.
Visual style aside, Greengrass as made a good solid action thriller with slight political asides. It has a complex but not complicated plot that had me gripped in it's quieter moments and while it may feel a bit too preachy and liberal for some, there's still enough in the story to make you stop and think. I will say however there maybe some out there who will watch Green Zone and feel that the film has told them nothing they don't already know.
What's most interesting about the film for me was it's presentation of it's characters within the films narrative, the antagonists in particular. Its villains are seeped in shades gray. Some motives are clearly underhanded but seemingly for the good of people while others obey orders from their bosses and do not question their higher ups. The crux of the film lies on information from a source who may or may not have been telling the truth, which once again begs the question: Were the Allied Forces far to willing to go to war? The film does well not to answer this fully but leave enough residue to the viewer into what they might think.
Strangely despite looking at the war from a different angle, I found it gels well with the addiction to aggression themes displayed in newly Oscar crowed The Hurt Locker, suggesting that no matter what war may be in our blood and despite our evolution we may just be finding civilized way to feed the primal. With this said Greengrass and screenwriter Brian Helgeland do well to make that despite the questions asked, the film keeps a good pace and remains enjoyable.
It helps when you place a top of his game Matt Damon and a handful of great character actors to head the cast of the film. Damon's character may feel like Jason Bourne with more memory and less martial arts, that everyman charm that was in said trilogy once again shines through in spades. Everyone else (Brendon Gleeson, Amy Ryan, Jason Issacs et all) put in some good work but for me the other stand out of note was Greg Kinnear who provides a Cater Burke feel when ever he's on screen, even when doing nothing....maybe that says more about how I feel about Greg Kinnear!
With both Green Zone, The Hurt Locker and many other films that have appeared in the last few years, it has shown that the war and it's issues have become more open topic to the world of film. As the war rages on it appears that filmmakers are beginning to create mature and yet entertaining works on a difficult subject. Green Zone may feel like Bourne meets Modern Warfare 2 but isn't afraid to ask questions either.
Monday, 8 March 2010
Review: Legion
Year: 2010
Director: Scott Stewart
Screenplay: Scott Stewart, Peter Schink
Starring: Paul Bettany, Lucas Black, Dennis Quaid, Charles S Dutton, Tyrese Gibson, Adrianne Palicki
Plot synopsis is here
Convention is fine, Homage isn't an issue and neither is cliche if used correctly. These things will never bother an audience if the filmmakers are creative enough with their material. Legion however is devoid of pesky little things like imagination, in fact it damn near avoids it. But that's not the only thing this little movie has in store. It's also inept in storytelling, full of atrocious acting and lethargic action sequences. Let's not stop there! The film is also full of cheap shoddy symbolism, tried themes and a distinct lack of urgency...it's also fucking stupid.
Legion is a bad film. A film that takes a tried premise runs it into the ground, but even then has trouble finding the floor. I've never seen an apocalyptic movie which seemingly has so little at stakes. Even when the film tell us (it does love to TELL you things instead of SHOWING) the levels of peril, it can't even effectively display the risk. We are not scared, we are not worried...hell for most of the movie I wasn't even bothered.
Much of this stems from the movies reluctance on building on the (very) tiny sparks of interest and deciding on retreading elements and imagery that were used in better movies. Watch how the angel Micheal (A very bored Bettany) descends to earth and also how he's introduced to the human characters when he emerges out of the LA police car. The imagery is so connected to a certain sci-fi film, that it looks not only out of place within this film but foolhardy. The film constantly does this; a bit of Assault on Precinct 13 here, a little bit of night of the living dead there, the film is a hodgepodge of ideas used better in other movies. The director does nothing to hide this or integrate them properly into the film he lets them hang ridiculously...such is life.
I'll be honest. I really liked the idea that if mankind was to be wiped out by the angels, then our will, emotional strength and our very humanity would be tested first. When these words are uttered in the film I was expecting to see something worthwhile. Director Scott Stewart decides that whats more interesting then testing these characters is more talking in a diner. Like I said before...tiny sparks of interest. It's a damn shame they shrivel and die like weeds in a well kept allotment. What's more interesting to Stewart is absurd character motivations. Check out poor Kate Walsh's schizophrenic mother character for a laugh.
Other unintentionally amusing moments include token black thug (the "wonderful" actor that is Tyrese) and token black gospel guy (Charles S. Dutton...Why?) sprouting stereotypical dialogue that would make Ben from Night of the Living Dead cry tears of blood, perfect t-shaped explosions, Dennis Quaid looking like he didn't get paid enough for his woeful dialogue and of course a whizzing mace that is carried by all angels.
Will I see worse movies than Legion this year? Possibly. But Legion wishes to belong to one of those special inner circles of cinematic hell. You know the place, where the resident evil sequels and American Psycho 2 reside. Imagine the torture to be hellish, however not as hellish as having to watch this again.
Director: Scott Stewart
Screenplay: Scott Stewart, Peter Schink
Starring: Paul Bettany, Lucas Black, Dennis Quaid, Charles S Dutton, Tyrese Gibson, Adrianne Palicki
Plot synopsis is here
Convention is fine, Homage isn't an issue and neither is cliche if used correctly. These things will never bother an audience if the filmmakers are creative enough with their material. Legion however is devoid of pesky little things like imagination, in fact it damn near avoids it. But that's not the only thing this little movie has in store. It's also inept in storytelling, full of atrocious acting and lethargic action sequences. Let's not stop there! The film is also full of cheap shoddy symbolism, tried themes and a distinct lack of urgency...it's also fucking stupid.
Legion is a bad film. A film that takes a tried premise runs it into the ground, but even then has trouble finding the floor. I've never seen an apocalyptic movie which seemingly has so little at stakes. Even when the film tell us (it does love to TELL you things instead of SHOWING) the levels of peril, it can't even effectively display the risk. We are not scared, we are not worried...hell for most of the movie I wasn't even bothered.
Much of this stems from the movies reluctance on building on the (very) tiny sparks of interest and deciding on retreading elements and imagery that were used in better movies. Watch how the angel Micheal (A very bored Bettany) descends to earth and also how he's introduced to the human characters when he emerges out of the LA police car. The imagery is so connected to a certain sci-fi film, that it looks not only out of place within this film but foolhardy. The film constantly does this; a bit of Assault on Precinct 13 here, a little bit of night of the living dead there, the film is a hodgepodge of ideas used better in other movies. The director does nothing to hide this or integrate them properly into the film he lets them hang ridiculously...such is life.
I'll be honest. I really liked the idea that if mankind was to be wiped out by the angels, then our will, emotional strength and our very humanity would be tested first. When these words are uttered in the film I was expecting to see something worthwhile. Director Scott Stewart decides that whats more interesting then testing these characters is more talking in a diner. Like I said before...tiny sparks of interest. It's a damn shame they shrivel and die like weeds in a well kept allotment. What's more interesting to Stewart is absurd character motivations. Check out poor Kate Walsh's schizophrenic mother character for a laugh.
Other unintentionally amusing moments include token black thug (the "wonderful" actor that is Tyrese) and token black gospel guy (Charles S. Dutton...Why?) sprouting stereotypical dialogue that would make Ben from Night of the Living Dead cry tears of blood, perfect t-shaped explosions, Dennis Quaid looking like he didn't get paid enough for his woeful dialogue and of course a whizzing mace that is carried by all angels.
Will I see worse movies than Legion this year? Possibly. But Legion wishes to belong to one of those special inner circles of cinematic hell. You know the place, where the resident evil sequels and American Psycho 2 reside. Imagine the torture to be hellish, however not as hellish as having to watch this again.
Sunday, 7 March 2010
Review: Crazy Heart
Year: 2010
Director: Scott Cooper
Screenplay: Scott Cooper
Starring: Jeff Bridges, Maggie Gyllenhaal, Robert Duvall, Colin Farrell
Plot Synopsis is here
Crazy Heart is not a very surprising movie. It follows the same well trodden paths as many musical biopics or character studies and seen them once then you've seen them all. However, Scott Cooper's film is not only effective in telling the tale well but it also features a great performance from Jeff Bridges. It may not be the Dude, but it's a towering performance that dictates much of the film. There's a laid back charm shines through so many moments of the display, that it's hard not to like Bad Blake, despite what his inner demons have done. I feel that if you enjoy Bridges' performance than you'll warm to the whole movie.
This is not to say that there's nothing else to Crazy Heart at all. Not at all. From an acting point of view the whole cast is worth watching; Maggie Gyllenhaal's sensitivity and shyness is spot on as Jean, Robert Duvall (a producer to the film) appears with a small yet amusingly grizzled display, and Colin Farrell once again reminds us that he has a great talent for accents.
In fact Farrell's pivotal role is one of the most interesting of the film as we are given a character who looks to be a full on antagonist who actually isn't that despicable at all. The few scenes that Farrell share with Bridges on screen are to me the most memorable. The reasons for the former partners breaking up are ambiguous enough to keep a considerable amount of weariness about both characters and what happened. Credit to Cooper is due for keep the tone in the writing and execution of the scenes from being too explicit.
I also liked how alcoholism is approached in the movie. Yes, you have your more "blatant" moments, but it's the quieter moments that are the most affecting. The best moment being seeing Blake sober compared to drunk. A small moment but effective.
This does bring me to the movies third act, which unfortunately are not as strong as the scenes that have taken place before it. At the end of the film, everything seems to tie up a little too neatly. In fact I found myself asking "is it that easy?!?!" It's a little hard to swallow considering how far this character had fallen. However like I mentioned before this is a character study on rails and contrivance does rear it's ugly head at the best of times.
But it doesn't stop the film from being watchable. Very watchable in fact. The dialogue is funny, the emotional moments are warming enough and the almost relaxed nature of the film makes it hard to hate. There's been comparisons of Crazy Heart to The Wrestler and while I can see the similarities, The Wrestlers effectiveness comes from the attention to detail to that world. It's a stronger movie that doesn't let up. Crazy Heart is more interested in letting you go with the flow.
Director: Scott Cooper
Screenplay: Scott Cooper
Starring: Jeff Bridges, Maggie Gyllenhaal, Robert Duvall, Colin Farrell
Plot Synopsis is here
Crazy Heart is not a very surprising movie. It follows the same well trodden paths as many musical biopics or character studies and seen them once then you've seen them all. However, Scott Cooper's film is not only effective in telling the tale well but it also features a great performance from Jeff Bridges. It may not be the Dude, but it's a towering performance that dictates much of the film. There's a laid back charm shines through so many moments of the display, that it's hard not to like Bad Blake, despite what his inner demons have done. I feel that if you enjoy Bridges' performance than you'll warm to the whole movie.
This is not to say that there's nothing else to Crazy Heart at all. Not at all. From an acting point of view the whole cast is worth watching; Maggie Gyllenhaal's sensitivity and shyness is spot on as Jean, Robert Duvall (a producer to the film) appears with a small yet amusingly grizzled display, and Colin Farrell once again reminds us that he has a great talent for accents.
In fact Farrell's pivotal role is one of the most interesting of the film as we are given a character who looks to be a full on antagonist who actually isn't that despicable at all. The few scenes that Farrell share with Bridges on screen are to me the most memorable. The reasons for the former partners breaking up are ambiguous enough to keep a considerable amount of weariness about both characters and what happened. Credit to Cooper is due for keep the tone in the writing and execution of the scenes from being too explicit.
I also liked how alcoholism is approached in the movie. Yes, you have your more "blatant" moments, but it's the quieter moments that are the most affecting. The best moment being seeing Blake sober compared to drunk. A small moment but effective.
This does bring me to the movies third act, which unfortunately are not as strong as the scenes that have taken place before it. At the end of the film, everything seems to tie up a little too neatly. In fact I found myself asking "is it that easy?!?!" It's a little hard to swallow considering how far this character had fallen. However like I mentioned before this is a character study on rails and contrivance does rear it's ugly head at the best of times.
But it doesn't stop the film from being watchable. Very watchable in fact. The dialogue is funny, the emotional moments are warming enough and the almost relaxed nature of the film makes it hard to hate. There's been comparisons of Crazy Heart to The Wrestler and while I can see the similarities, The Wrestlers effectiveness comes from the attention to detail to that world. It's a stronger movie that doesn't let up. Crazy Heart is more interested in letting you go with the flow.
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