Trance Review

By Ryan Hamelin

Movie Grade: A-

Danny Boyle’s Trance can be accurately described as a freight train of a movie. The audience leaves the station to the soothing tones of a serene James McAvoy voiceover (this time with his natural Scottish accent, allowing him to focus all his energy into the performance to great effect) as he describes the correct procedure in the event of an attempted art theft at an upscale auction house. From there, seasoned filmgoers will begin to see the telltale visual and editing tropes that made Boyle’s Trainspotting such a massive success. This is, after all, his return to the world of the British crime drama, and even years later, it’s clear that there are some projects that certain directors are born to create.

The most striking initial impact will come from the film’s imagery. Colors are rich and vibrant, often so saturated as to render shots with a trippy almost stenciled vibe. Yet somehow, amazingly, it never feels overly theatrical or stagey. There’s enough justification for the lighting to be believable, and the stylization of the cutting and the performances brings everything together into a remarkably cohesive experience. The ride begins from the first frame, and even in the quieter moments, the pounding intensity of the film’s overall momentum is undeniable. Some of the later twists may be shallow or overly conventional, but the rich visual energy is often enough to hide the occasional narrative flaw or awkward character beat. This is a case where style has overwhelmed some of the substance, but that the viewer will most likely be too engrossed to notice.

The next subject to tackle is the cast. In many ways, it’s hard to imagine a better trio playing the lead characters. James McAvoy, Vincent Cassel, and Rosario Dawson are each well known for a certain type of persona, and the characters we expect them to play are what the film presents in the early going. The brilliance is in the reveals, and the way the movie plays against the audience’s expectations of who these people are. The writing uses the familiarity against the viewer, resulting in unexpected scenarios and scenes which will alternately shock and alarm. McAvoy is particularly strong, as he almost always is, but he gets to let loose here and it’s a lot of fun to watch. Cassel could have easily phoned it in, as a master thief in a European heist movie seems to be his bread and butter at this point, but the nuanced nature of his performance goes unnoticed for much of the film. Then there’s Dawson, the lone woman and the lone American of the bunch, who leaves absolutely nothing on the table. She’s a force to be reckoned with, and the depth of her machinations strains credibility were it not for her commitment to the role. You want to see more of everyone, and the lean runtime is utterly bereft of the usual studio filler.

It’s a testament to this filmmaking team that we’ve grown to expect storytelling excellence, and Trance is exactly what it portents to be. A much needed kick in the nuts for the crime thriller genre, this is a movie that arrives at exactly the right time and stands proudly in a landscape dominated by middle aged action star rebirths and Jason Statham vehicles. It may be too artistically distinctive to resonate with the casual viewer, and the threads do unravel towards the end, but it’s so consistently enjoyable that it hardly seems to matter. Already looking forward to what comes next, and counting the days until McAvoy reprises his role as young Professor Xavier in X-Men Days of Future Past.

Spring Breakers Review

By Ryan Hamelin

Movie Grade: B

The one thing that is indisputable is that Spring Breakers is an extremely divisive, and in it’s way, effective bit of filmmaking. How successful it is will depend on what you consider its goals to be, but there is no doubt that you will leave the theater having experienced something even if you’re not entirely sure what. For some, the experience will be akin to drug use, and based on the dazed looks of the critics who exited our screening, a fairly potent batch at that. In the simplest terms, it’s an auteur independent director who brought his off-the-wall, vaguely experimental storytelling style to a mainstream Hollywood movie. It’s not a particularly original tale, but the lens through which it is viewed allows for many layers of color and commentary that the script probably never included. Drive took a similar approach in overhauling the expectations of an action thriller, though that was a far more polished and refined movie-going experience than what Harmony Korine appears to be aiming at.

A lot of variables about the viewer’s values and their level of pop culture desensitization will play a defining role in how Spring Breakers works or doesn’t work for them, and I’d be surprised to find anyone outside the 20-30s male bracket who ends up calling this one a masterpiece. There is nudity and debauchery in large quantities, and it would be very easy to quantify the project as misogynistic. The counter argument is that by embracing the legitimate high-partying lifestyle of college students on spring break in a tropical paradise, the film leaves it open to the audience to provide their own context, resulting in a much more critical commentary than a message-driven contemporary culture diatribe would have elicited. By reveling in the disgusting and often brutally idiotic antics of our nation’s 20-somethings while abroad, the filmmakers shine such a bright spotlight that the veneer is, at least periodically, washed away before our eyes.

A big draw for the film has been its cast. Starring Vanessa Hudgens, Selena Gomez, Ashley Benson, and the director’s wife, Rachel Korine, the film has been marketed as a window into the seductive side of these squeaky clean Disney starlets. No, you won’t see any of them naked in the film, though there is some implied nudity and scenes with a decidedly sexual content. What you will see are 4 very honest performances, characters who feel like real college girls, looking for one last chance to get away from their lives. The characters aren’t particularly smart, nor are they all that adept at the various criminal activities they engage in throughout the film, but that’s okay. The audience isn’t meant to identify with them as a one to one comparison, more as a metaphorical shell of who they could become if placed in a similar situation. This is also where the film will probably lose most of its older audience, as more mature viewers will find it painfully hard to relate to the things going through a modern teenager’s brain. Most of them won’t get it, and the few that do will probably be scared by it. Unfortunately, there’s more about the film that’s true than what’s not.

The final word has to go to discussing James Franco. The actor has undergone many transformative performances over the past few years, but none more severe than what he brings to the table here. It’s so apparent when he decides to put his effort into his work, and compared to his sleepwalking in Rise of the Planet of the Apes, here he’s vibrant and alive in a truly wicked way. If I had to imagine the devil incarnate, the result would probably look not unlike Franco with gold teeth, cornrows, sunglasses, tattoos covering his arms, and a handgun fitted into the waistband of his shorts. He’s a force of nature, and Korine uses him to great effect, allowing the whole arc of the film to change and react to his presence. In a part that could’ve been horrifically cheesy and reality shattering, he’s one of the most convincing parts of the film, totally at peace with the vacation paradise he calls home, and the nefarious way he’s chosen to live his life.

Spring Breakers is certainly not a movie for everyone. In fact, it may not even be a movie for most. For those with an open mind, and an overwhelmingly accommodating sense of moral ambiguity, there’s a lot to admire here. Divisive, yet effective. That just about sums up my thoughts on the matter, and with a tour-de-force turn by Franco, you should have reason enough to purchase a ticket. Just make sure you’re ready for much more than a drug fueled romp at the beach, because this isn’t a tale for the faint of heart.

The Place Beyond the Pines

By Ryan Hamelin

Movie Grade: A-

My first word of advice: Leave your expectations at the door. If you’ve seen any of the marketing for the film, you’re probably getting a vibe similar to Ryan Gosling’s previous independent hit, Drive. This is by design. With the exception of his casting, and the fact that his character has a penchant for fast vehicles and criminal undertones, the two projects have almost nothing in common. The Place Beyond the Pines is a generational epic with a unique storytelling structure and an ensemble that rivals its bigger budgeted brethren. The lack of studio oversight has allowed for the creation of a wildly ambitious and deeply emotional movie… though its approach is simultaneously its greatest strength and its most devastating weakness. This film doesn’t exist to be anyone’s entertainment, and I’d hesitate to recommend it to someone who doesn’t have a healthy respect for the power of the medium. Everywhere you look, the world is painted in shades of grey, with characters becoming more or less sympathetic, but never truly “good” or “bad.” Most audiences aren’t used to having a complex relationship with the characters in a film, particularly the leads, and it’s easy to see where the casual viewer might dismiss the movie outright. However, for those of us who enjoy more challenging fare, Pines strikes a great balance between leading you down the path, and giving you the space to draw your own conclusions.

Going too far into the turning point moments would ruin the experience, so I’ll try to address the structure in more general terms. Pines is a long movie. With a first cut rumored at over 3 and a half hours, it’s easy to see that the filmmakers wanted to build an all-encompassing saga. The final film is about 2 hours and 20 minutes, and given that its three acts are, in fact, three separate narrative threads that occur in sequence, it’s actually a pretty modest length. Conventional wisdom would have suggested a style of editing rife with flashbacks and intercutting, but the director chose a much more methodical, chronological approach that keeps the story moving and prevents the audience from getting the chance to stop and reflect before the credits roll. The opportunity to experience the events of the film with the characters in real time is rare in contemporary filmmaking, and the disregard for cinematic tropes gives the whole project an added level of integrity.

The performances are terrific across the board. I know it seems cliché to say that with Ryan Gosling, but Bradley Cooper and Eva Mendes are also both completely on top of their game. With so many characters, it’s impressive how many make a noticeable impact on the plot, and everyone carries a similar amount of weight. Even Ray Liotta, and Rose Byrne, the other two “big names” in the cast, don’t draw any more attention to themselves than the parts require, showing real team spirit and a dedication to the material. As the story progresses and the world fills out, there’s a genuine sense of familiarity with the town of Schenectady NY, where the script is based and the film was shot. The location is as much a presence as any of the players, and the atmosphere is meticulously reinforced with the shot selection and the score.

Do I believe The Place Beyond the Pines will resonate with every viewer like it did for me? Probably not. In fact, the subject matter alone might initiate a bit of a gender divide. A story of fathers and sons won’t inspire the same reaction with a female crowd, but maybe they’ll be moved by completely separate elements. I can only speak from experience, and what I saw was a powerful, arresting, and ultimately moving film that aimed for the sky and only rarely fell short. I walked in expecting another Drive and left with a wholly unique feeling in the pit of my stomach, one I will continue to ruminate on for many days to come. 2013 has started off painfully slow, but if Pines is any indication, this could be yet another terrific year for movies. I’m excited to see what happens next.

Last year some unforeseen circumstances caused me to be unable to finish by Top 11 of 2011 list. That list would’ve included 1) Drive, 2) Source Code and 3) Girl With A Dragon Tattoo, but I hadn’t gotten much further than that. By the time I had seen all the films I’d wanted to see, the Oscars had already given their best picture to The Artist, which, while clever, probably wouldn’t have even made my list. It’s also to note that I have a habit of ranking the eventual Oscar winning film in the middle to bottom of my top 11, and due to a number of extremely over-hyped films this year (featured in my inaugural Notable Snubs category at the bottom) I may have left the best picture winner off entirely (probably looking at you Lincoln).

These films are not necessarily my highest rated films of the year by letter grade. I like to think the grades I give are specific to each individual film and have to do with the potential each film had on its own terms, not how they stack up to other films I’ve seen. That’s what an arbitrary list is for, and subsequently, why we’re here. The selections have a brief blurb from their respective reviews or something I would have written, had I been asked to review them. I’m sure everyone thinks about what they’ve seen differently, but out of what I’ve been able to check out over the last 12 months, this is what I’ve come up with:

11) Life of Pi

On the surface, this is a story about a boy and a tiger, adrift in a boat. The national bestselling book has a lot to say about life and the nature of humanity, and there was some confusion over how the prose would adapt to a feature film. Ang Lee went the green screen route, crafting a movie that is as beautiful as it is emotional, a poem that is more about feelings and experiences than a traditional narrative. Within that, Lee and his screenwriters go out of their way to pull together a strong central thread, enough for the layman to hold onto even with its fantasy elements. The tiger becomes something of a star in this show, a CG creation that is utterly breathtaking to watch. Its been a while since we’ve had a glimpse at some character artistry that could knock Gollum off the top of the heap, but the boys at Digital Domain may have just managed it. The tiger is a living, breathing character, and you’re surprised by how quickly you’re wrapped up in the saga of two souls, lost at sea. If any film on this list could trump Lincoln this year, perhaps this will be it, simply on the power of the human spirit that it represents. By that same logic I suppose Argo has equal weight, so I guess we’ll see when the votes are counted.

10) The Avengers

There are few films this year with greater hype than Marvel’s superhero team up to end all team up movie The Avengers. Thankfully, unlike The Dark Knight Rises, this is a project that delivers in just about every way. Marvel head Kevin Feige‘s masterstroke was hiring Joss Whedon, a man with kind of geek clout needed to take on a movie with this level of fanboy importance. Not only is he a master of witty dialogue, but he’s written several superhero comics including a run of X-Men, giving him the perfect background to tackle the mess of different tones and talent provided by his predecessors. Giving each character their due, while carving a satisfying arc that is suitably grand and epic is no mean feat, and even managing to meet expectations was a monumental achievement. He even managed to dig Robert Downey Jr.‘s Iron Man out of the hole left by Iron Man 2, ending Phase One of Marvel’s genre takeover with aplomb. One can only imagine what they have in store for the years to come, and if you only see one blockbuster this year, you’d be hard pressed to find anything more consistently entertaining.

9) Moonrise Kingdom

Wes Anderson had taken a bit of a hiatus from live action filmmaking since 2007′s The Darjeeling Limited, so expectations were high for his return to the world of the living. Moonrise Kingdom does not disappoint. Anderson has pretty much made “quirky” his middle name, so it shouldn’t come as a surprise that this story of two children on the run from their parents and the Boy Scouts on an island is the kind of beautifully sweet lark that we would expect from someone of his caliber. The all star cast aces every line, and first time Anderson actors like Bruce Willis and Edward Norton fit right in with their established kin. Everybody seems to be having so much fun, that you’re hard pressed not to enjoy it too, and as topsy-turvy as everything gets, there’s an honest center to the relationships and the characters that keeps the film grounded. If you’re not smiling by the end, you’re likely dead inside.

8 ) Cloud Atlas

Honestly the hardest part about discussing Cloud Atlas is where to begin. At 2 hours and 45 minutes in length, and 6 competing storylines of various genres and structures, there’s very little that isn’t in it. Easily the most ambitious and far-reaching of the releases this calendar year, it’s a shame that pundits will label the film a failure based on its box office receipts, denying the much more complex and engaging success story of the $100 million independent film that wowed audiences around the world and left many scratching their heads for days afterward. For me, the film is a beautiful exercise in understanding our own mortality, and the perpetuation of our ideas across space and time. It is a film that poses hard questions and allows the viewer to search for the answers in themselves, transcending the medium’s idea of a one way street and engaging the audience in a whimsical give and take. Don’t be scared if you don’t know what to make of it just yet. Given a little time, and maybe an additional viewing or two, I’d be surprised if the film didn’t manage to resonate on some fundamental level with everyone who saw it. Just try to avoid thinking about Hugo Weaving‘s Mad Hatter too hard as sometimes the whimsy exists entirely for its own good.

7) Skyfall

To say this film is anything other than a resounding success would be a lie. Javier Bardem alone brings this film head and shoulders above the previous two, and is one of the strongest Bond villain performances to date. Craig slips back into the role like a comfortable pair of shoes, and Judi Dench is wonderful as always. The Bond/M dynamic remains a strong part of what makes the latest iteration a successful dramatic story, and Bardem serves to complicate that relationship. The emotional core of the story is in the intersection of those three characters, and again, this acts as a departure for the Bond franchise. There’s a family dynamic here that isn’t simply a colorful backdrop for the central conflict, but is, in fact, the point of the film, allowing Mendes to dive into the dramatic and artistic territory that he’s known for, while keeping the pace swift and the action omnipresent. The editing keeps things moving when the story calls for it, but things also slow down quite a bit from time to time, deep breaths to avoid the fatigue and help the movie to earn its over 2 hour runtime.

6) Beasts of the Southern Wild

“In a million years, when kids go to school, they’ll know: there once was a hushpuppy and she lived with her daddy in The Bathtub.” So begins one of the most endearing and convention shaking films of this awards season. A Sundance Film Festival darling, Beasts of the Southern Wild was produced in New Orleans for less than $2 million, a far cry from any of the other budgets on this list. The little-movie-that-could has garned Best Picture and Best Director Oscar nominations, and with good reason. The fascinatingly hopeful and naive tale of a girl coming to terms with her perceived place in the universe pulls back the curtain on an entire human experience that is wholly alien to us, and a worldview that will make you question your own beliefs in a deeply personal way. The fantasy element of the film, though widely discussed by critics, is only a fragment of the bigger picture, a thread in a tapestry that’s at times ingenious and vexing to the viewer. In many ways, the film is as good as we allow it to be, and as a vessel for our projected thoughts and experiences, Beasts is in a class by itself.

5) Seven Psychopaths

A film with a title like Seven Psychopaths would appear to imply an extensive ensemble, and it’s definitely a big part of what makes the movie work. Besides the leads, there are great supporting turns from Abbie Cornish, Olga Kurylenko, and Tom Waits as a particularly disturbing and hilarious psychopath who answers a newspaper advertisement that Billy posts to give Martin some inspiration for his script. He spends almost his entire screen-time walking around holding a bunny… and it’s an example of how absurd the film can be while still managing to remain grounded. Characters can be quirky, but the setting is relentlessly harsh and stripped down, leaving the stage wide open for some of the funniest (and bloodiest) sequences in recent memory. McDonagh is one of the few screenwriters who can make you laugh even while a character is getting shot in the head, and as an audience you have to appreciate the literary dexterity it takes to pull that off. On more than one occasion you’ll be questioning your emotional response to the event that just occurred, and may even learn a little something about yourself in the process.

4) Looper

There is such a confidence throughout the Looper, from the narration, to the acting, to the directing, that as an audience member, you’re never confused by what’s going on. It’s an almost beautiful level of simplicity working underneath it all, and the conceits that are used to justify certain paradoxes result in wonderfully inventive and occasionally downright disturbing moments. Originality abounds, and that’s part of what makes the film feel so balanced. Having never seen a story told in quite this way before, we’re not pre-conditioned to expect one structure or set of arcs, allowing the narrative to move of its own volition, and set up some genuinely powerful moments of surprise and awe throughout. The grounded dialogue and intriguing characters, not to mention wonderful performances pretty much across the board, keep this one on solid ground, even when you feel it starting to pull away into a land of disbelief.

3) Argo

Brace yourselves. If Argo is any indication… this is going to be an awards season to remember. Based on events surrounding the Iran hostage crisis and the whereabouts of several Americans trapped in a hostile foreign country with no way home, the film walks a fine line between a history lesson and a tightly constructed thriller, serving to both educate and entertain its audience on one of the riskiest civilian rescue operations in the history of the CIA. True story movies can demonstrate the best and worst that the medium has to offer, and luckily for us, Argo is a shining example of cinema at its most powerful, a well-told story delivered in the best possible format. If there was any doubt of Ben Affleck’s prowess as a director, this project will silence the naysayers and place the former Good Will Hunting writer squarely in the big-leagues. I’m excited to see where he goes next.

2) Django Unchained

This film is a hard R, just the way you’d expect from this director. Geysers of blood greet every brutal gunshot, and the red stuff coats the walls and ceilings in his hyper-stylized fashion. It’s a western by way of Tarantino after all, and there are very few things left to the imagination. Do not bring your children to see this movie… unless you’re interested in scarring them for life. The over-the-top violence makes the action feel more like a theater piece than grim reality, and you’ll find yourself laughing out loud at many of the more impactful kills, sometimes in spite of personal reservations to the contrary. It’s a spectator sport, and much like The Avengers this summer, this is a crowd-pleasing theater going experience in the truest sense. I’m sure you’ll get enjoyment out of checking this one out at home, but there’s something about the energy of the room, particularly with people who are seeing the film for the first time, that’s hard to replicate. Unlike some of his recent movies, I have a feeling this one will hold up under multiple viewings as it doesn’t place all the tension in the unknown that’s about to occur, so where the wind goes out of Inglourious Basterds’s sails in the basement sequence, Django Unchained will likely continue to soar.

1) Zero Dark Thirty

Zero Dark Thirty hits hard and it hits early, with the precision of a master filmmaker behind the wheel. Kathryn Bigelow‘s follow up to The Hurt Locker proves to be the greater film in almost every way, and her sure hand, particularly in the grueling climax, will keep viewers glued to the edge of their seats. In my mind, there is no contest for best picture this season, and if you haven’t seen it, do yourself a favor and check this one out in a theater. Controversy over the film’s depiction of torture techniques (when honestly I’d be surprised if the CIA didn’t use far worse methods in real life) has clouded the conversation of what it is, quite simply, an incredibly powerful piece of cinema, anchored by the commanding performance of Jessica Chastain. From the kinetic cameras, to the frantic editing, the emotional ride of the film can’t be overstated. You will be moved, and you may even begin to understand what it cost to kill the most wanted man on the planet. People will be watching this one for many years to come.

Honorable Mention:

Chronicle

Notable Snubs:

Les Miserables

The Silver Linings Playbook

The Dark Knight Rises

Killing Them Softly

Lincoln

Django Unchained Review

by Ryan Hamelin

Movie Grade: A

Welcome back Mr. Tarantino, welcome back. It’s been 3 years since Inglourious Basterds put a new spin on the WWII movie (if killing Hitler is what you consider a “spin”) and he’s returned with his take on another genre, the western. Make no mistake, this isn’t like any western you’ve ever seen. That being said, this is a Tarantino movie, so prepare yourself for a barrage of winks, nudges, and homages that will delight the discerning few and simply entertain the rest. Django Unchained is the kind of big screen experience that really works with an audience, delivering on its premise in every way you’d expect, and several which you wouldn’t. The only question remains, is this a movie you’d enjoy? I’ll try to answer that below.

In a great marketing move, most of what we’ve seen from Django thus far occurs in the first hour of the movie. The viewer won’t be privy too significant chunk of this hero’s journey until the film is running on all cylinders, keeping the whole experience fresh and lively. With rarely a slow moment, there’s a sense of play and energy here that is sorely lacking in much of the recent studio fare. Christoph Waltz alone could carry the movie, as his German dentist/bounty hunter is instantly iconic and endlessly hilarious. Everything from his grey suit to the giant tooth that wiggles on a spring atop his wagon serve to paint the picture of this odd little man, a man who would free a slave and make him his partner at a time when seeing a black man riding a horse is enough to stop townsfolk dead in their tracks. The film uses racism as a way of exposing the stupidity of racial prejudice, and though the language is often harsh, it fits the time period and reminds us how far we’ve come. Tarantino gets away with the slurs because of the grounded setting and the art direction’s painstaking attention to detail. We don’t question what the characters say because everything feels so genuine, and I think Sergio Lione would be proud of the way in which his blueprint has been interpreted for a modern audience.

Jamie Foxx, meanwhile, is a force to be reckoned with. I don’t know if Will Smith, long rumored to play the part of Django, would have been able to get to the gritty, dirty level that Foxx does here. There’s a weariness and a strength in his performance that implies the years of hardship, while giving his character a chance to grow and stretch the way any great performer relishes. The evolution of Django is an impressive marriage of direction and acting, bringing him from a shell of a man to a powerhouse hammer of vengeance over the course of a single film. The other highlights are the antagonists, a two-headed serpent in the form of a devious and dangerous Leonardo DiCaprio as Calvin Candie, and the head of his house staff, a surprisingly nuanced Samuel L. Jackson. Both look to be having the time of their lives here, and DiCaprio feels particularly joyous, not having to carry the burden of the leading role and allowed to tap into a much darker streak. I wouldn’t be surprised if we see more villainous turns from him in the not too distant future. Sam Jackson’s Steven allows for a much deeper part than he’s had a chance to play in the past, and without giving anything away, you’ll be surprised at the levels at work under the surface and how smoothly and swiftly he transitions between them.

This film is a hard R, just the way you’d expect from this director. Geysers of blood greet every brutal gunshot, and the red stuff coats the walls and ceilings in his hyper-stylized fashion. It’s a western by way of Tarantino after all, and there are very few things left to the imagination. Do not bring your children to see this movie… unless you’re interested in scarring them for life. The over-the-top violence makes the action feel more like a theater piece than grim reality, and you’ll find yourself laughing out loud at many of the more impactful kills, sometimes in spite of personal reservations to the contrary. It’s a spectator sport, and much like The Avengers this summer, this is a crowd-pleasing theater going experience in the truest sense. I’m sure you’ll get enjoyment out of checking this one out at home, but there’s something about the energy of the room, particularly with people who are seeing the film for the first time, that’s hard to replicate. Unlike some of his recent movies, I have a feeling this one will hold up under multiple viewings as it doesn’t place all the tension in the unknown that’s about to occur, so where the wind goes out of Inglourious Basterds’s sails in the basement sequence, Django Unchained will likely continue to soar. Easily holding a spot in my Top 10 of the year, you’d be crazy not to check this one out.

Silver Linings Playbook Review

By Ryan Hamelin

Movie Grade: C+

“Sentimentality” is kind of a dirty word in Hollywood these days. A lot of movies are labeled as being sentimental with a negative connotation, the idea that they are naïve or gooey in a manner that detracts from the audience’s involvement in the film. That we are, in some way, unable to connect due to a veneer of artifice and sympathetic chords played in such a way as to illicit an emotional response from the viewer. When a film does it shamelessly, we feel betrayed by the filmmaker, knowingly feeling something that we know to be a lie, and yet unable to resist the temptation to let ourselves go. Emotionally exploitive films are largely dependent on their own success. If the film is considered good, then we begrudgingly acknowledge its advances, if the film is bad, we lay into it like the storytellers committed a mortal sin. But what if the film is average? Not insultingly bad, but not powerful enough to justify its machinations. What then? That is a question that faces Silver Linings Playbook. Is it enough to consider the film a success, just because it chooses to face a difficult subject matter head on and doesn’t embarrass itself?

A lot has been made about the principal characters, so I’ll give you a taste of the context just to get it out of the way. Both Bradley Cooper and Jennifer Lawrence suffer from different forms of mental trauma, trauma that compounds already present and diagnosed issues, whether it’s a bipolar angry outburst, or an incredibly self destructive set of choices meant to demean and humiliate the subject. Both are really gifted actors, and the performances here are easily the highlight of the piece. On paper, you can already see the reviewing community and awards season catnip. Two very normal actors playing two mentally handicapped characters who fall in love. Its got Oscar written all over it, and before all is said and done, you may see one if not both receive nominations and possibly even wins for their work here. The only problem is that it’s misdirection, a clever way of selling a film that is anything but a paint by the numbers boy/girl tale. It’s an incredibly long and drawn out character study… one that isn’t nearly as rewarding as most people would have you believe.

For starters, there’s absolutely no reason for the film to be over two hours long. There’s bloated, and then there’s self-indulgent, and I think you may find this one to be the latter, on account of its writer/director David O. Russell. I really enjoyed The Fighter, I did, but this is a very different kind of movie, and the domestic drama just isn’t all that powerful. The stakes feel superfluous to what the film is trying to say, and if the message wasn’t beaten into your head in every other scene, it might even come across as nuanced. There are a lot of great moments sprinkled throughout, and the acting is stellar pretty much wall to wall. If the film had been reduced to those moments we might be talking about the kind of powerhouse drama that I could really get behind, instead of a curiosity at best, and an awards season plug at worst.

You may say I didn’t get it, that I don’t understand the genius behind the material, but I would argue that the subject matter has blinded a lot of people, people who would like to say that they have some experience with unstable individuals and think this is a story that honors them in some way. It’s not a shallow piece of work, but it’s nowhere near as deep as it pretends to be, and I think you have to be able to analyze it as a film before you start holding it aloft. You may find enjoyment in it as a quirky comedy with a tragically dark underlying thread, but just be careful with what you jump to next.