Dallas Buyers Club Review

Directed by Jean-Marc Vallee
Written by Craig Borden and Melisa Wallack

The past few years have been very interesting for Matthew McConaughey. Known mostly in the past for romantic comedies and other "sell-out" films, McConaughey has had something of a career renaissance in recent years, taking on gutsier roles in the hopes of showing that he has some actual talent somewhere inside him. With his performance in Dallas Buyers Club, his talent is finally undeniable, as he gives a layered, powerful and emotional performance, and makes it fun, to boot.

McConaughey plays Ron Woodroof, a Texas redneck who is diagnosed with HIV. Quickly fed up with the American medical system. Woodroof starts going around the law and the FDA to bring medication into the US, for himself and others to treat their illness on their own terms.

What helps make the film work are the performances. Jennifer Garner is effective as a sympathetic doctor, and helps make a rather standard role somewhat more interesting. Jared Leto truly impresses as Rayon, a transvestite HIV patient who partners up with Woodroof and attempts to steal every scene he's in. He is nearly unrecognizable in most of his scenes, and plays nicely off of McConaughey's bigoted character. Ultimately, though, this is McConaughey's showcase, and he makes the most of every scene he is in. His success here is incredibly shocking, and reveals a brand new depth of talent that would not be expected from the man who five years ago starred in the failure Fool's Gold. He takes the character through a fascinating arc, and allows him to grow gradually, never stretching the realm of believability even a bit.

This film is important, but it is also emotional and quite a lot of fun. There are many humorous moments, and Woodroof's reactions to people are quite entertaining to watch, as is almost every scene Leto is in. The audience really does start to feel for these characters as the film goes on, though, to the point where watching them deal with their disease becomes quite difficult. Dallas Buyers Club is a story that backs its lead characters into a corner, and watches as they try their hardest to break out of the corner. Most importantly, it is a lot of fun watching them do it. A-

Fruitvale Station Review

Written and Directed by Ryan Coogler

Fruitvale Station, which is based on a true story, does not tell the story of an even in the way one would expect. There is a major event that occurs towards the end of the film that was noteworthy, but that is not the true focus of the film. This is a film about a man named Oscar Grant. It follows his life over the course of a very eventful New Years Eve and details who he is and what has led him to his current point in life.

If this seems a bit like a meandering plot that's because it is. It is not a very focused film. Rather, this film functions as a way of introducing you to a character. Some moments in the movie seem rather unnecessary, but they all have an impact. Part of this credit goes to Ryan Coogler's direction, but most of it has to go to Michael B. Jordan's performance. Jordan fully fleshes Oscar Grant out in a way that is rarely seen. It doesn't take long to see who this person is, what his strengths are and what his flaws are, as Jordan knows the character so well and knows how to bring all of these aspects out in a subtle and realistic way.

The rest of the cast is strong, too. Octavia Spencer makes the most of a few scenes as Grant's mom. Her turn is the showiest and most emotional, but Spencer has already shown her strength with that and doesn't disappoint here. The true MVP of the film, aside from Jordan, of course, is Melonie Diaz, playing Grant's girlfriend, Sophina. She too takes what is often a one-note love interest role and fully humanizes her. Sophina is neither a passive sex-object nor a shrill whiner. Instead she is a person who has had her own desires, her own strengths and weaknesses and who behaves realistically in regards to the events unfolding around her.

Perhaps Fruitvale Station is more of an important film than a great one. Like I said, outside of the performances Fruitvale can be a bit meandering and perhaps tries too hard to make its main character undoubtedly likable, but those are small criticisms when a film has as strong an impact on you as Fruitvale Station almost certainly will. I simply was too affected by it to say anything other than that it achieved what it set out to, and that it is a film that many more people should watch, and that should be talked about. A-

The Hunger Games: Catching Fire Review

Directed by Francis Lawrence

Written by Simon Beaufoy and Michael DeBruyn

Based on the novel by Suzanne Collins

There's always one question to ask when a sequel to a high profile film is released: How does it compare to the original. In the case of Catching Fire, it proves to be a rare case where the sequel is actually stronger than the original. The credit for this goes to director Francis Lawrence, who shows a surer hand and a better feel for pacing than Gary Ross did. Unfortunately, this film went in with issues from the book that it simply was unable to correct, and which hold the film back. 

The first two acts of the film are incredibly strong. Where the first film kept the focus squarely on the games, this film is at its best when depicting the political unrest that permeates the world. The tone of the film is perfect in these parts, and Francis Lawrence keeps the tension up, as we realize that the world is a powder keg ready to go off. This is aided greatly by the film's gorgeous cinematography, miles better than the shaky-cam plague that the first film had.

The performances are better for the most part as well. Unfortunately Katniss is a less dynamic character this time around, which is a shame as it doesn't allow Jennifer Lawrence much room to really show her talents. She is still a great actress, though, and performs very strongly in the film, making the most of whatever she is given. What's truly been improved this time out is the supporting cast. Harrelson and Banks are markedly improved this time around, as is Hutcherson, who proves to be the heart of the film. Donald Sutherland and Philip Seymour Hoffman are perfectly intimidating villains, and truly help keep the stakes high on the film. Even the past victors are strong, at least those who are given characterization. Sam Claflin may seem like a piece of art direction rather than casting at first glance, but when given a chance to portray more of Finnick's subtextual personality he lives up to the challenge, but in the end it is Jena Malone who truly steals the movie. She doesn't have a ton of screen time, but she makes the most of every second, truly having fun with the role and developing her character well.

In the end, the film falls short when getting to the climax. Though I relished the opportunity for Francis Lawrence to improve upon the missed opportunity that the first film's games were, the emphasis on environmental factors over personal combat lessened the tension of the film, as well as the fact that going back to the games inevitably feels redundant. Another major issue is the PG-13ification of the story. I understood that they had to play it very safe in the first film, as it was children who were being killed, but this time the targets are older, and I can't help but feel like they could have gotten away with more. It's just tough to really feel the stakes of a fight to the death if all of the deaths happen conveniently offscreen.

In the end, this is a strong film that unfortunately had some issues going into it that couldn't have been fixed, not the least of which being its weak ending. However, as a part 2, this film could have been a lot worse, and indeed does improve the story and deliver some great tension, now if only they can continue the upward streak for the two parts of Mockingjay (The two parter being a terrible idea) then they may be able to make something truly great. B+

Only God Forgives Review

Written and Directed by Nicolas Winding Refn

Drive, Nicolas Winding Refn's previous directorial effort, was my favorite film of 2011, so I was understandably intrigued to see Only God Forgives, which looked like an altogether artsier, more unique film. I was excited by the prospect of a filmmaker who would stick so close to his vision and I wanted to see what he would do and was willing to take risks for the sake of his art. What I came to realize in watching Only God Forgives was that it is in the nature of risks that sometimes they don't pay off.

One cannot criticize this film for a lack of passion. Winding Refn clearly cares a lot about the world he is creating. The film is the farthest thing from lazy, closer to having too much effort put in. While that doesn't seem like it can be a bad thing, it really does constrict the film and prevent it from being able to breathe. Refn's style fills every frame, every cut, every moment, but it's too much, it sinks the film, and doesn't really let the film flow naturally. It is loved, but it is forced.

That is not to say it is all bad, though. Truly the cinematography is quite gorgeous, the film feeling like a fever dream at times. This is fascinating enough, but it makes it very hard to have a stake in the proceedings. Artsiness and experimental methods are fine in a film, but when the film becomes about the artsiness and uniqueness, then it ceases to truly function as a movie, and instead becomes an hour and a half of self-indulgence.

Many people in negative reviews have pointed out the fact that Gosling's protagonist has fewer than 20 lines in the film. In truth, this is not a negative at all. Gosling is such a strong actor that he sells these quiet moments, proving that he really doesn't need dialogue, when in fact his dialogue scenes fall shorter than his silent ones. 

The rest of the performances are non-entities. Since this film is so completely about Refn's style, only Gosling and Kristen Scott-Thomas, playing his mother, actually stand out as even having performances. This is a benefit in Gosling's case, and a detriment in Thomas'. She is given the lion's share of the dialogue, and most of it terrible. Her one character trait is that she is a bad mother, and the movie does everything it can to force you to realize this. It is unfortunate, but becomes laughable at a point, as the movie keeps trying to convince you of something you figured out in mere moments.

I do understand what the movie was trying to achieve, and I respect it. There are some truly powerful images and strong scenes. However, the film gets too caught up in itself to really capitalize on these scenes. Though there is a message, one would be forgiven to see it as simply an experimental film, an exercise in seeing how much dark, disturbing content can be squeezed into such a short running time. 

This film is so unique that I would not fault anybody for liking it. Though I found it to be trying too hard, I am nonetheless still interested in Winding Refn's future work, as I truly do respect directors who will stick to their visions and refuse to play it safe, even if that means occasionally making a bad film. 

Grade: C-