Sleight of Film

Today’s quick review: What About Bob?. Just before his vacation to Lake Winnipasaukee with his family, esteemed psychiatrist Dr. Leo Marvin (Richard Dreyfuss) makes the mistake of seeing a new patient: Bob Wiley (Bill Murray), a friendly, clingy man with a laundry list of phobias. In spite of Leo’s best efforts, Bob follows Leo on vacation in search of therapy, where he befriends Leo’s family (Julie Hagerty, Charlie Korsmo, and Kathryn Erbe).

What About Bob? is a comedy starring Richard Dreyfuss and Bill Murray. The movie pairs a self-important psychiatrist with an aggressively friendly patient who just won’t go away. The clash of personalities drives Leo to the brink of sanity while convincing Bob that his doctor is not just a genius, but his friend. What About Bob? has the light tone and simple comedy of a good family pick but lacks the cleverness of Murray’s best work.

What About Bob? has a simple gimmick, and it sticks to it. Bob has three main traits: his personable nature, his fear of everything, and his extreme clinginess. Bill Murray is a good fit for the part. Although Bob Wiley doesn’t give him as much flexibility as his more iconic roles, Murray’s warmth and playfulness are the driving force behind the film’s comedy. For his part, Richard Dreyfuss makes for a suitably irritable foil.

But in spite of a capable pair of leads, What About Bob? lacks depth. The comedy is all variations on the same routine: Bob ingratiating himself with those around him while Leo gets ever more frustrated. To the film’s credit, this is a reliable source of humor, especially once Leo’s family get in on the act. But the novelty eventually wears thin, and those hoping for a twist or evolution to the premise will be disappointed.

How much you get out of What About Bob? will depend on what you expect out of it. Those looking for a fun, superficial family comedy that makes use of Bill Murray’s talents will find exactly that. Those hoping for a sharp, unpredictable comedy may want to look elsewhere. For a similar flavor of Bill Murray comedy, try The Man Who Knew Too Little. For a comedic pairing in a similar vein, try The In-Laws or A Shot in the Dark.

7.0 out of 10 on IMDB. I give it a 6.5 for decent humor that lacks variety.

Today’s quick review: All the Devil’s Men. Collins (Milo Gibson), a contract killer for the CIA, puts off his return home to take one more job for his handler Leigh (Sylvia Hoeks). Teaming up with Brennan (William Fichtner) and Samuelson (Gbenga Akinnagbed), Collins heads to London in search of McKnight (Elliot Cowan), a rogue CIA operative. But to get to him, Collins will first have to get through Deighton (Joseph Millson), an old war buddy.

All the Devil’s Men is a budget action movie that pits two teams of trained killers against one another. The plot is a series of violent skirmishes between Collins’ men and McKnight’s, a straightforward affair that caters to the movie’s modest strengths. Surprisingly robust action, a dark tone, and stoic characters make All the Devil’s Men a decent budget pick. Still, its thin plot and characters keep it from reaching the next level.

What sets All the Devil’s men apart from the competition is its tactical combat. The soldiers in the film move and kill like professionals. The fights are as much about tactics and adaptability as they are about raw firepower, and the film’s attention to detail results in combat that is tense, focused, and brutally efficient. To its credit, the film also knows when to keep its characters quiet, letting their actions speak for them.

For all its strengths, All the Devil’s Men still runs into the same issues that most budget films do. The cast is capable enough to handle the action but not to give the film any sort of emotional depth. The plot exists only to stitch together the action scenes. The serious tone and level of violence will turn off action fans looking for a lighter watch, while the action itself can’t match the scope or polish of bigger-budget productions.

What all of this adds up to is a diamond in the rough for action fans that has little to offer anyone else. Those looking for sharp action without any frills may want to give All the Devil’s Men a shot. Those looking for a well-rounded watch or something with more star power should steer clear. For a slightly more ambitious movie with a similar setup, try Killer Elite. For an action movie with similar combat and more style, try John Wick.

5.0 out of 10 on IMDB. I give it a 6.0 to 6.5 for tight action but little else.

Today’s quick review: Duplicity. Freshly hired for a corporate espionage job in New York, Ray Koval (Clive Owen), a former MI-6 agent, is shocked to learn that he’ll be working with Claire Stenwick (Julia Roberts), the former CIA agent who got the better of him five years before. The two must put aside their differences to help CEO Dick Garsik (Paul Giamatti) steal a top-secret product from his business rival, Howard Tully (Tom Wilkinson).

Duplicity is a crime comedy and romance about a pair of corporate spies with a tangled history together. The plot revolves around two rival companies and a project that could be worth a fortune in the right hands. With Claire working on the inside and Ray helping her from the outside, the two spies set out to make sure those hands are theirs. A light tone and an interesting plot are enough to make Duplicity a fun watch, if not an outstanding one.

Duplicity takes its premise and spins it into a fairly satisfying story. There isn’t a single heist, but rather a series of smaller operations that bring Ray and Claire closer to their prize. Along the way, the movie flashes back to their shared past, revealing more of their love-hate relationship and dropping hints about what each one has in mind in the present. The twists aren’t brilliant, but they are enough to flesh the plot out nicely.

Still, Duplicity leaves a few things on the table. Clive Owen and Julia Roberts have some chemistry, but their banter isn’t as sharp as it could be. The plot works well from moment to moment and it wraps up well enough, but it misses the chance to build to a bigger climax. Likewise, the script is right on the border of a true comedy. It does levity just fine, especially when Claire and Ray exchange the upper hand, but has only a few actual jokes.

Watch Duplicity when you’re in the mood for a light caper with a fun story, a decent pair of leads, and a couple of good twists. Duplicity isn’t as skillfully executed or as memorable as some of its competition, but it makes for an enjoyable pick nonetheless. Fans of the lighter side of the crime or spy genres may want to give it a shot. Those looking for a gritty heist flick will want to look elsewhere.

For a crime comedy and romance about a pair of con artists, try Focus. For one that’s heavier on the romance, try Out of Sight. For an action comedy with a similar setup and tone, try Mr. and Mrs. Smith. For a more elaborate heist with an ensemble cast and a larger dose of humor, try Ocean’s Eleven or The Italian Job.

6.2 out of 10 on IMDB. I give it a 6.5 for light, simple fun.

Today’s quick review: Molly’s Game. Molly Bloom (Jessica Chastain) has made a name for herself—along with a tidy sum of money—by running one of the most exclusive underground poker games in the world. Now at the center of a federal investigation, Molly has no choice but to turn to attorney Charlie Jaffey (Idris Elba) to beat the charges. But to walk away with her freedom, she may have to share secrets that she’s worked for years to keep.

Molly’s Game is a crime drama that’s based on a true story. The film charts the remarkable life of Molly Bloom, an underground entrepreneur who became wealthy by hosting a high-stakes poker game for businessmen, celebrities, and other high rollers. Molly’s Game boasts sharp writing, an engaging presentation style, capable acting, and a worthwhile protagonist, making it a solid pick for a wide range of viewers.

The story splits its time between Molly’s heyday as a poker host and her attempts to fight back against an unjust investigation. Molly’s Game does a skillful job of balancing these two threads, maintaining tension in each of them while keeping the story moving. The punchy writing style helps to further spruce up Molly’s story, while flashbacks to her childhood with her father (Kevin Costner) give the film another source to draw on.

The lynchpin of the film is Molly herself. Jessica Chastain walks a fine line with the character, portraying her as sharp and capable while still keeping her sympathetic. Part of the appeal of the story is watching Molly use her wits to parlay a lousy job into a lucrative business. At the same time, her honesty, her loyalty, and her unwillingness to get drawn into hard crime make her a protagonist worth rooting for.

The main weaknesses of Molly’s Game are the ones that come with a biography. Those used to the fictional side of the crime genre may find its plot to be unfocused and its stakes to be low, though the film’s excellent presentation goes a long way towards bridging that gap. The film also depends on Molly striking the right balance as a character. Those who end up not liking her will have a hard time getting into the rest of the film.

High execution quality and interesting source material make Molly’s Game worth a watch for those in the mood for a snappy crime drama. The story will not resonate emotionally with everyone, but it covers enough ground with enough skill that most viewers will find something to like. For a raunchier crime comedy that’s based on a true story, try The Wolf of Wall Street. For a similar true story with less flair, try Lay the Favorite.

7.5 out of 10 on IMDB. I give it a 7.0 to 7.5 for a high degree of craftsmanship.

Today’s quick review: The Art of Self-Defense. After a mugging leaves him in the hospital, Casey (Jesse Eisenberg) tries to reclaim his dignity by taking up karate. He signs up for lessons under Sensei (Alessandro Nivola), an intense but supportive karate master who promises to make Casey into a warrior. But in spite of a promising start for his new hobby, Casey soon learns that Sensei’s school has a darker side to it.

The Art of Self-Defense is a black comedy about a man who picks up karate to overcome his timidity. The Art of Self-Defense offers a wry look at fear, aggression, and self-improvement. The movie specializes in a dry style of comedy that’s well-suited to Jesse Eisenberg, drawing much of its humor from Casey’s self-effacing personality and a subtly skewed world. However, the movie’s slow pacing and macabre streak limit its appeal.

The Art of Self-Defense has the makings of a cult comedy. Its gags are understated, found in subtle quirks of the setting and characters rather than in explicit punchlines. Casey’s struggles with daily life make him a sympathetic protagonist. Sensei makes for an effective foil, a low-key parody of the calm, confident man Casey wishes to be. The later revelations of the film give it something to build toward, plus a basic but complete story.

The drawback to all this is that The Art of Self-Defense never truly comes to life. Casey’s world rarely extends beyond his home, his office, and his dojo, while the supporting cast is limited to a handful of coworkers and fellow students. The subtle nature of the jokes coupled with their relatively low density mean that, in spite of a handful of solid hits in the comedy department, the movie never goes on comedic hot streaks.

The other chief drawback of the film is that it goes to some dark places. The Art of Self-Defense never loses its sense of humor, and even its darkest moments are tinged with mundane absurdities. But after a fairly accessible first half, the film gradually creeps in a sinister direction as Casey learns more about his new teacher. Whether the darker aspects of the story are part of the fun or a tone-breaker will come down to taste.

Fans of unconventional comedies may want to give The Art of Self-Defense a shot. Its gags are clever and inventive, while stoic performances from Jesse Eisenberg, Alessandro Nivola, and Imogen Poots fit the film’s style well. But its dry tone can make it hard to get traction on, while the suspenseful edge it picks up halfway through won’t be to everyone’s tastes. The result is a hit-or-miss comedy with a solid amount of cult appeal.

For another dry comedy with a more fully realized world, try one of the works of Wes Anderson. For a more overt comedy that expresses similar frustrations, try Office Space. For a more stylized, dynamic movie with a similar premise, try Fight Club or Wanted. For a more character-focused comedy that has the same wry perspective, try Little Miss Sunshine.

7.4 out of 10 on IMDB. I give it a 6.5 for clever humor and straight-faced delivery offset by a lack of momentum; your score will vary.

Today’s quick review: War Machine. In 2009, the President sends General Glen McMahon (Brad Pitt) to take charge of the War in Afghanistan and wind down the US occupation of the country. Instead, McMahon concocts a plan to win the war by force, calling for 40,000 more troops. But McMahon’s initiative faces challenges from all corners, not the least of which is Sean Cullen (Scoot Nairy), a journalist working on a profile of McMahon.

War Machine is a political satire and drama about the War in Afghanistan. War Machine looks at the war through the eyes of Glen McMahon, a decorated general who faces the nearly impossible task of managing an unpopular occupation. The film contrasts Glen’s confidence and idealism with the reality of the situation, in the process casting a harsh light on American foreign policy. However, abstract drama and static conflict limit its appeal.

War Machine immediately backs itself into a corner with its choice of protagonist. Glen McMahon is a beloved leader, a proud soldier, and a patriot who genuinely believes that he can win the war. But the movie undercuts him at every turn, using Sean’s sarcastic narration and Glen’s unconvincing arguments to drive home the point that he is hopelessly misguided. The movie caps it off with barbed humor aimed at the general and his men.

As a result, it is hard to build up any investment in the character. Glen gets caught between two extremes: a quixotic fool worthy of ridicule, and a tragic hero doomed to failure. Glen’s noble spirit and good intentions make it hard to write him off completely, but the movie is more interested in proving him wrong than portraying him in any sort of positive light. The outcome is a dry watch that misses the chance for actual pathos.

War Machine will hold some appeal for those interested in a pointed take on the War in Afghanistan. Its big picture take on the issues involved and its centrally placed protagonist give it at least the skeleton of an effective political piece. But War Machine falls short as a story, lacking the absurdity to bite as a satire and the emotional connection to move as a drama. Fans of the genre can do better elsewhere.

For a more moving portrait of war from the perpsective of one of its leaders, try Letters from Iwo Jima. For a more rounded portrait of a general, try Patton. For a more elaborate critique of American foreign policy, try Syriana. For a similar satire with a bit more humor to it, try The Men Who Stare at Goats. For one with a more involved plot, try Three Kings. For an absurd comedy that goes farther in making its points, try War, Inc.

6.0 out of 10 on IMDB. I give it the same for gambling on a mediocre character and comedy and drama that both miss the mark.

Today’s quick review: War, Inc. Hauser (John Cusack) works as a hitman for Tamerlane, an enormous corporation with its own private military. For his next assassination, the Vice President (Dan Aykroyd) sends him to Tamerlane-occupied Turaqistan in the guise of a trade show producer. But to get to his target, Hauser will first have to deal with a nosy reporter (Marisa Tomei), an unstable pop star (Hilary Duff), and the pangs of his own conscience.

War, Inc. is a political satire set in the fictional Middle Eastern country of Turaqistan. John Cusack stars as Hauser, an amoral fixer with a silver tongue and nagging doubts about his choice of profession. War, Inc. takes aim at US foreign policy, corporations, and military contractors. The movie scores a few hits thanks to its absurd comedy and dedication to its premise, but its odd tone and hit-or-miss humor leave it a niche pick at best.

War, Inc.’s strong political bent is a double-edged sword. On the one hand, it motivates an enegertic world and gives the film plenty of fodder for its absurd humor. On the other hand, it robs the film of subtlety and undermines what could otherwise be needle-sharp criticism. The movie’s best jokes are the ones that are funny for their own sake. The ones that try too hard to make a point end up coming across as bitter.

How much you get out of War, Inc. will depend on your taste in humor and politics. The ridiculous and sometimes crude nature of the film’s humor will turn off some viewers, while others will dislike the way it handles its politics. Still, enough of its jokes hit the mark that the right viewr will have a fun time. But those who are looking for consistent humor, subtle satire, or a comedy that’s less topical will want to steer clear.

For an even more absurd political comedy in the same vein, try Team America: World Police. For one that takes a more subdued approach, try Casino Jack, The Men Who Stare at Goats, or Doctor Strangelove. For a more sober look at similar political questions, try Lord of War or Syriana. For a more heartfelt comedy starring John Cusack, try Grosse Pointe Blank. For a pure comedy with an absurd sense of humor, try Airplane! or Hot Shots!.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for hit-or-miss humor with niche appeal.

Today’s quick review: Point Blank. After a job gone bad, criminal Abe Guevara (Frank Grillo) ends up in the hospital and in police custody. To force his nurse Paul (Anthony Mackie) to sneak him out of the hospital, Abe’s brother Mateo (Christian Cooke) kidnaps Taryn (Teyonah Parris), Paul’s pregnant wife. Paul manages to free Abe but becomes a fugitive from the law, pursued by Lt. Regina Lewis (Marcia Gay Harden), a cop with a score to settle.

Point Blank is an action movie about a nurse forced to work with a criminal to save his kidnapped wife. Point Blank knows its limitations, works within them, and cleanly accomplishes what it sets out to do. The movie lacks the stunts, star power, intricate plot, or rich characterization seen in more ambitious action films. But what it does have is just enough of each to serve its purposes, making it a well-rounded and enjoyable popcorn watch.

Point Blank has a little bit of everything. The action is nothing out of the ordinary, but car chases and the odd fight are enough to keep things movie. The plot fits nicely into genre standards: substantive enough to support a twist or two, but not taxing to follow. Similarly, Abe and Paul are likable but not complex. Point Blank finishes it off with a few unexpected touches: clever cinematography, an energetic soundtrack, and a pinch of humor.

Point Blank is a movie that will appeal to action fans but lacks the subtance to draw in skeptical viewers. It never deviates far from the action formula, and neither its action nor its writing is enough to distinguish it from the crowd. But the movie does make for an honest, satisfying watch that doesn’t tip too far in any direction. Those looking for something light may want to try it. Those looking to be impressed should look elsewhere.

For a tense thriller with a similar premise, try Collateral. For an action comedy with a more dynamic pair of leads, try The Hitman’s Bodyguard. For a crime movie centered around a hospital, try Hotel Artemis or Three.

5.7 out of 10 on IMDB. I give it a 6.5 for simple, enjoyable action without the ambition or vision to impress.

Today’s quick review: Recall. A year after the death of his girlfriend Nicole, Mikey (Michael James Regan) has hit rock bottom. Touchy, evasive, and unable to recall the details of the accident, the last person Mikey wants to see is his stepbrother Dale (Tommy James Murphy), a small-time crook with questionable judgment. But this time Dale has a job that will set them up for life: stealing $2 million from the local mob in the midst of a drug deal.

Recall is a budget crime drama about a pair of stepbrothers who plan to rip off the Mafia. Recall weaves together two main plot threads, the robbery and Mikey’s accident, in an attempt to tell a story that’s as emotional as it is thrilling. Unfortunately, the movie falls well short of its goals. Low production values, splotchy acting, a weak script, and a distinct lack of action make Recall a poor pick that’s outclassed by other budget films.

Recall runs into issues with its basic premise. Mikey and Dale are inept criminals who only stand a chance due to the even greater incompetence of the Vertucci family. The two have no concrete plan for taking the money, let alone keeping it, and it’s only through sheer contrivance that the robbery gets as far as it does. The film attempts to paint Dale as the irresponsible one, but even Mikey’s victories come down to luck rather than skill.

The personal side of the story doesn’t fare much better. Mikey and Nicole’s relationship is introduced through flashbacks that have little to do with the main plot, show a bare minimum of character development, and play coy with basic facts. Nicole herself doesn’t even appear until late in the film, robbing her already thin storyline of substance. On top of this, Mikey’s amnesia is ill-defined and never plays an important role in the plot.

There are other aspects of the story that could have picked up the slack, but Recall fails to take advantage of them. The tension between Sal Vertucci (Louis Di Bianco) and his nephew Vinny (Stefano DiMatteo) over the future of the family never amounts to anything. Dale’s girlfriend Alexis (Katrina Isberg) tips him off about the deal then all but disappears. There’s no attempt to flesh out the world or characters at all beyond the immediate premise.

The end result is a budget crime flick that has the makings of an interesting story but lacks the skill to pull it off. Recall has a few saving graces, including a half-decent twist, a mostly coherent story, and a run time that doesn’t overstay its welcome. But there’s no reward for the viewer’s investment, and the movie’s failings aren’t spectacular enough to provide their own form of entertainment. Most viewers will want to steer well clear.

For a better budget crime drama about the relationship between two brothers, try American Heist or Arsenal. For one with more action, try The Hard Way or The Debt Collector. For a budget heist movie with more ambition, more charm, and similar flaws, try Checkmate. For one with a horror twist and more endearing mistakes, try Vampiyaz.

3.1 out of 10 on IMDB. I give it a 3.5 for poor execution all the way around.

Today’s quick review: Cop Car. Travis (James Freedson-Jackson) and Harrison (Hays Wellford) are running away from home when they make the discovery of a lifetime: an empty police car with the keys still inside. The boys decide to take advantage of the situation and take the car for a ride. But what they don’t know is that the car belongs to Sheriff Mitch Kretzer (Kevin Bacon), a cop with something to hide, who will do anything to get it back.

Cop Car is a minimalistic crime drama with elements of black comedy. The movie follows two boys on a dangerous joyride and the dirty cop determined to catch them. Cop Car draws its tension from Mitch’s hunt for the boys, as well as the mystery of just what he was up to out in the wilderness. The film also has a splash of humor, thanks to the childlike innocence of Travis and Harrison. Solid acting and an original premise give Cop Car some potential.

But in spite of these strengths, Cop Car feels unfinished. The plot moves slowly, focusing more on the mechanics of Mitch’s hunt and the boys’ joyride than on trying to set up anything larger. There are no dramatic revelations, no secondary plot threads, and no climactic finale to tie everything together in a clever way. The movie does have a twist or two to raise the stakes, but these aren’t enough to make it feel like a complete story.

Cop Car is worth a watch if you’re a fan of the crime genre and interested in something experimental. Its minimalistic premise holds some appeal, and the acting from its small cast is enough to sell the story. But the plot simply doesn’t have enough meat on its bones to satisfy most viewers. Those curious in what the film has to offer may want to give it a shot. Those looking for a full story will want to skip it.

For a minimalistic crime drama with a darker tone and a more rewarding plot, try Blood Simple. For a darker tale of a bad man in the middle of nowhere, try Mojave. For an action thriller about a man in the wrong car, try Vehicle 19. For a more heartfelt encounter between a boy and a criminal, try Mud.

6.3 out of 10 on IMDB. I give it a 6.0 for decent execution of a premise that’s too limited for its own good.