Silver Screen: The Score Card, February 10, 2011 Edition

Silver Screen: The Score Card, February 10, 2011 Edition

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Silver Screen: The Score Card, February 10, 2011 Edition
Bryan Miller

> Opening this week (Friday unless otherwise noted).

< Leaving Carbondale this Friday.

by Bryan Miller unless otherwise credited.

Black Swan (R, ****): Darren Aronofsky's feverish retelling of Swan Lake is another stylistic triumph for the director, and a cerebral stunt that's also backed up by a solid story and defiantly toes (and screams across) the line of melodrama without quite tipping into it. Natalie Portman is excellent as the ambitious but frail, sheltered ballerina Nina, who is daunted by the psychological strain of both creating art and navigating the hazards of her industry. Repressed by her overbearing mother (Barbara Hershey), pushed to the edge by her manipulative director (Vincent Cassel), and threatened by her seductive potential replacement (Mila Kunis), Nina finds that losing yourself into art can be not unlike just plain losing yourself. It's a trippy flick, and Aronofsky exploits the grotesquerie lying behind the images that are so beautiful from afar. Always intense, occasionally frightening, it's one of the season's most bombastic and provocative films.

The Dilemma (PG-13, *1/2): A happily married salesman (Vince Vaughn) discovers that the wife of his best friend and business partner (Kevin James) is cheating on him, bringing up the titual quandary of to tell or not to tell. Director Ron Howard could have made it into a drama or a comedy; a slow, brooding psychodrama; or a farcical comedy of errors. But instead of making one of these movies, Howard seems to have attempted to mash them all into one movie. The result is an agonizing, terrible movie that combines the awkward silence of failed jokes with the jaw-clenching quiet tension of a protracted and grim portrayal of a marital-meltdown weepie. Costarring Jennifer Connelly, Winona Ryder, and Channing Tatum.

The Fighter (R, ****): It's Christian Bale, ostensibly the supporting player, who dominates David O. Russell's true-life boxing tale. But that's apropos, as the crux of the drama is little brother and future title contender Micky Ward (Mark Wahlberg) struggling to escape his fallen pugilist sibling's shadow. He's held back by bad habits and affection for his self-motivated family members (not just his brother but his domineering mother, played by Melissa Leo, and a gaggle of ghastly sisters). His new girlfriend (Amy Adams) presses him to strike on his own for one last shot at greatness in the ring. Russell cut his teeth as a maker of interesting, oddball films (from the hilarious Flirting with Disaster to the increasingly weird and wonderful I Heart Huckabees and Three Kings), but here he proves he can work with a straight story, too, and proves that an inspirational sports movie can come by its inspiring swells of bravado honestly. Bale is electric, and the rest of the ensemble shines around him.

The Green Hornet (PG-13, **1/2): This comedic riff on the superhero movie succeeds partly as a comedy and not much at all as an action flick. Seth Rogen cowrites and stars as Brit Reid, the layabout heir to a media fortune who decides to use his money to become a masked crimefighter to carry on the legacy of his late crusading journalist father (Tom Wilkinson). Problem is, Brit has no skills, so he employs his sidekick Kato (Jay Chou) to do all the actual superheroing. It's a funny concept that grows tedious as Brit refuses to learn or grow or do much of anything rather than trash talk and hit on his secretary (Cameron Diaz). A lazy plot and a terrible villain (Inglourious Basterds' Christoph Waltz, an excellent actor given no material to work with) turn the last hour into a grind. Director Michel Gondry's eye-popping visuals surface only occasionally as his distinctive sensibility is subjugated to that of Rogen, which is not an even trade. Only in the 2D version.

The King's Speech (R, ****): The story of King Edward VIII's abdication of the throne in favor of the love of an American woman has been told many times before, but director Tom Hooper's excellent film follows a much less salacious consequence of the royal changeover, which is the ascension of Edward's brother, King George VI (Colin Firth), and his struggles with a speech impediment. The smaller-scale story becomes a microcosm of the newly crowned little brother's struggle with the responsibilities of leadership and the psychological baggage that comes with royal life. Geoffrey Rush is fantastic as the Australian speech therapist whose unconventional methods help Firth's staid ruler find his footing. Hooper's focus on this singular conflict amidst a more sweeping backdrop-- World War II is looming-- helps humanize the characters and cut through the faç ade of the monarchy without ever sinking to the level of lurid tell-all. Helena Bonham Carter costars as the future queen.

No Strings Attached (R, ***): Ivan Reitman directs this romantic comedy about a pair of longtime friends, a writer (Ashton Kutcher) and a doctor (Natalie Portman), who embark on a fling but promise not to develop romantic feelings for one another. Inevitably, of course, this friends-with-benefits accord leads to the two developing feelings for one another. No Strings Attached rarely deviates from the standard constructs of its genre-- it not only lacks a gimmick, it's almost plotless, consisting almost entirely of quiet moments and appealing banter, occasionally implausible but always character-driven and surprisingly amiable. Featuring Kevin Kline, Greta Gerwig, Cary Elwes, and Ludacris.

127 Hours (R, ****): Danny Boyle (Slumdog Millionaire) directs this true story about outdoorsman Aron Ralston (James Franco), who needed to cut off his own arm after an accident in the wilderness trapped him under a boulder. Flashbacks to Aron's youth give the movie substance, exploring the dark undercurrent of unhappiness that prevented the energetic, type-A Aron from fully living his life and connecting to the people around him, perhaps too willing to construct his lifestyle around his character flaws rather than facing them. More than a daring piece of filmmaking and a compelling drama, 127 Hours is an emotionally resonant experience that lingers in the mind long after the visceral shock of the climax fades away.

The Rite (PG-13, *): Deadly dull exorcism flick that never deviates from the formula of the genre. The uninspiring Colin O'Donoghue stars as a skeptical would-be priest who goes to Italy to study under exorcist Father Trevant (Anthony Hopkins), only to encounter a demon and rediscover his faith. It's mostly a watered down Exorcist-knockoff masquerading as a character study, but it packs absolutely no punch. Skip it and check out Daniel Stamm's far superior The Last Exorcism instead, which basically attempts to do everything this movies does, only Stamm actually succeeds sometimes.

The Roommate (PG-13, *1/2): Though it's not credited as a remake of 1992's tawdry psychosexual drama Single White Female, this cheesy thriller copies the earlier film note for note, from the pet-killing (borrowed originally from Fatal Attraction, of course) to significantly cleaned-up versions of the prominent sex scenes. The setting is in college, but it might as well be any given generic apartment building, as one TV actress (Leighton Meester) terrorizes another (Minka Kelly) after they're randomly assigned to bunk together. As with last year's similarly tame and vapid Sorority Row, you have to wonder why bother making a bloodless, mostly sexless version of a sex-and-blood movie.

True Grit (PG-13, ****1/2): It's not surprising that the Coen brothers' take on Charles Portis's novel, previously filmed as a classic John Wayne vehicle, is both distinctive and exceptional, but it is startling how the brothers can impress even when expectations are set high. We should be able to surmise what the dark-humored auteurs would do with proven source material, a bevy of fantastic actors, and master cinematographer Roger Deakins, yet somehow the movie still bowls you over. Jeff Bridges does wonders with the mantle of Rooster Cogburn, a cantankerous lawman for hire who begrudgingly teams up with an eccentric Texas Ranger (Matt Damon) to help a steely teenaged girl (Hailee Steinfeld) find the assassin (Josh Brolin) who killer father. It's not an ironic commentary on the western as archetype, metaphor, or cinema history. It's a western-- rugged, beautiful, and spiked with morbid mirth. Bridges somehow manages to keep getting better, and Steinfeld is exceptional in her feature-film debut.

Also in or Coming to Local Theaters

> Blue Valentine (R): Director Derek Cianfrance's critically acclaimed film about a young couple, Dean (Ryan Gosling) and Cindy (Michelle Williams), who marry-- but as the years pass, Cindy grows up, working as a nurse, while Dean stagnates, maturity- and career-wise, as an artist.

Country Strong (PG-13): Gwyneth Paltrow stars as a washed-up country singer attempting a comeback and striking up a relationship with a young songwriter (Garrett Hedlund). Costarring Tim McGraw.

> The Eagle (PG-13): Kevin Macdonald (Last King of Scotland) directs this action-adventure tale about a Roman soldier (Channing Tatum) attempting to reclaim his family's honor by recovering a lost artifact. Featuring Jamie Bell and Donald Sutherland.

> Gnomeo and Juliet (G): Computer-animated kiddie comedy about two lawn gnomes from adjacent yards who fall in love despite a war between the neighbors. Featuring a lot of Shakespeare jokes and the voices of James McAvoy, Emily Blunt, Michael Caine, and Jason Statham.

> Just Go with It (PG-13): Adam Sandler stars in this Adam Sandlerish comedy about an Adam Sandler type who pretends to be married to get low-risk hookups with sympathetic women. But when he meets a girl he's actually into (swimsuit model Brooklyn Decker), he must convince his assistant (Jennifer Aniston) and her kids to pretend to be his family in the midst of a divorce. Featuring Nick Swardson.

The Mechanic (R): Jason Statham stars as a hitman who takes on an apprentice (Ben Foster) as he seeks to avenge the death of his mentor (Donald Sutherland).

> Never Say Never 3D (G): This concert film is a documentary biopic of helmet-haired tween-pop star Justin Bieber that leads up to a big performance at Madison Square Garden. I'm going to go ahead and say I will never see this.

Sanctum (R): James Cameron-produced 3D adventure thriller based loosely on a true story about a group of explorers who are trapped in an underwater cave during a freak rainstorm. Featuring pretty much nobody, said nobodies including Richard Roxburgh (the queeny Dracula from Van Helsing) and Ioan Gruffud (the forgettable Mister Fantastic from the failed Fantastic Four series).

< The Way Back (PG-13): Cerebral director Peter Weir's latest tells the true story of a group of escapees from a wartime Soviet gulag who walked all the way to India to reach freedom. Starring Ed Harris, Colin Farrell, and Jim Sturgess.

< Yogi Bear (PG): Disastrous-looking computer-animated big-screen outing of Jellystone Park's most notorious resident, a pic-a-nic-basket-loving bear (voiced by Dan Aykroyd) and his pal Boo-Boo (voiced by Justin Timberlake), as they concoct zany schemes to steal food despite amiable opposition from Ranger Smith (Tom Cavanagh of TV's Ed). Also featuring Anna Faris and T.J. Miller.