The Wolf of Wall Street Review

The Wolf of Wall Street - Paramount Pictures
Runtime: 179 minDirected by Martin Scorsese
Written by Jordan Belfort and Terrence Winter

The Wolf of Wall Street - 65%

By Mitch Bergeron

The Wolf of Wall Street  is a black comedy that depicts what could be considered the American dream if that ambition involved copious amounts of narcotics, Swiss bank accounts and prostitutes.  A career in politics comes to mind.  Martin Scoresese’s portrayal of the lavish and ridiculous lifestyle of Jordan Belfort seems it will play out like the typical rise and fall narratives of greed within the corporate world.  However, during the 179-minute runtimes we are really only given half of the story.  Yes the film has an ending, but it is quite obvious the story doesn’t, and this isn’t the type of spectacle that has a sequel.  The narrative slugs along at the pace of a quaalude induced Belfort, remaining essentially stagnant throughout.

Based on the true story of Belfort, played wonderfully by Leonardo DiCaprio, The Wolf of Wall Street uses the camera as a spyglass into the over-energized world of stock brokers.  The protagonist starts his own company, Stratton Oakmont, after being let go by another firm early in his career.  Belfort uses an illegal pump and dump scan that helped his company become one of the elite firms in the city that is the Mecca of the western economic world.  This is the fifth time Scorsese and DiCaprio have teamed up and the experienced director lets his star carry the film throughout its long duration.  The story is told entirely from Belfort’s perspective and begins with us seeing a glimpse of the fortune and drug-induced insanity he has acquired.

Belfort meets his partner in crime, Donnie Azoff (Jonah Hill), early on and although entertaining, Azoff is no war-time consigliere.  However, their chemistry is superb and every scene with Hill involved usually leaves to laughs.  Due to the questionable ethics practiced by this duo in their company and the amount of drug usage under Stratton Oakmont, the firm inevitably becomes a target of the FBI.  Leading the case against Belfort and company is Agent Patrick Denham (Kyle Chandler), who is described as a real boy scout.  

Along the way, Stratton Oakmont creates an agreement with Steve Madden Ltd. to take their company public, and immediately after doing so Belfort cashes in a cool $22 million.  It definitely goes to his head as his lifestyle involving prostitution and drug abuse start to take a wild left turn for the worse.  During this time, Jordan gets divorced to his wife, but then married again to his girlfriend Naomi (Margot Robbie).   He sets up Swiss bank accounts in one Naomi’s relatives’ names, but this story has been told before, just not with as much cursing.  

By the time the three hours are over you are left with an immense feeling of disappointment.  This is in no way attributed to the execution of the film by Scorsese or the the phenomenal acting, but rather the story relying on shock value instead of going for an original concept.  There are quite a few comparisons that can be made to Goodfellas, as they both approach the American dream through flamboyant narratives, but in The Wolf of Wall Street we are left without satisfaction.  

Her Review

Her - Warner Bros
Runtime: 119 minutes
Directed by Spike Jonze
Written by Spike Jonze

Her - ★★★★  

By Nate Davis

Spike Jonze’s “Her” is the riskiest and most fervent film of the year.  There are so many instances throughout the two hours where this unorthodox love story could fail, but it resists inclinations to become facetious.  Instead we are treated to something real, raw and full of genuine emotion.  Perhaps the greatest achievement attained in this feature is its refusal to feel ashamed and in turn allows us to applaud its bravery.

We are introduced in the first scene to Theodore Twombly (Joaquin Phoenix), who works for a sort of outsourcing writing firm, BeautifulHandwrittenLetters.com.  He is one of many employees who provides personal correspondence for customers to their loved ones - similar to Joseph Gordon-Levitt’s character in “(500) Days of Summer” yet approached in a more sincere way.  Theodore has been separated from his soon to be ex-wife Catherine (Rooney Mara), but it is obvious he is still not ready to deal with the breakup emotionally or legally.  He spends his time mostly avoiding others, with his only interaction between his friend Amy (Amy Adams) where he converses with her in the elevator, and a video game character that is a foul-mouthed blue alien in a video game that could be the genetic mutated offspring of the Pillsbury Doughboy.  

Set in the not-so-distant future of Los Angeles, Theodore comes across an advertisement for the newest smartphone of the time, an advanced operating system (OS).  The gadget is only a voice, which names itself Samantha.  The OS is the anthropomorphized voice of the Scarlett Johansson, who is present every moment from here on out in this film without making a visual appearance.  Samantha’s personality is intoxicating - particularly enhanced by the smoldering voice of Johansson - but not initially in a sexual way.  She is curious to discover, as she tell Theodore she evolves with the more information and experiences she receives.  However, the relationship bubbles to the point where Theodore falls in love with Samantha and vice-versa.  

Like many of Jonze’s previous films (“Adaptation,” “Where the Wild Things Are,” and “Being John Malkovich”) “Her” focuses on the protagonist dealing with his emotions in an unconventional way, although in this instance it is more smooth than his earlier work.  Perhaps the film is not as erratic due to the fact Jonze was the writer as well on this project, whereas he directed the eccentric scripts written by Charlie Kaufman in his first two features.  It is quite obvious Jonze has been influenced by one of the great writers of our time.  Branded as a comedy, “Her” doesn’t look for laughs by making fun of the situation, as most other people in this world begin to accept the OS-human relationship.  It is a science fiction film where the science isn’t the overseer of the humans or the narrative, like Hal 9000 in “2001: A Space Odyssey.”  The film doesn’t seize the easy opportunity to comment on the role of technology in our world and how we are becoming more and more attached to it, pushing us closer to the singularity.  Rather, this is a story about love, and the quest and need for it in our increasingly isolated lives.  

Phoenix is wonderful as Theodore.  His performance is both sad and funny as we see scenes of him trying to interact with the outside world - whether it be lonely phone sex sessions or going out on a date and getting drunk with a woman who is pushing for commitment.  Jonze is risking as much as Theodore is by diving into this quest for love with an OS - as Theodore’s ex-wife points out bluntly “he’s dating his laptop.”  Amy Adams’ performance as Theodore’s only friend is so far removed from her role in “American Hustle” as a con-artist, we hardly recognize her.  She is vulnerable - as is Theodore - as she has a hard time showing her expression via her chosen medium, documentary filmmaking.  Amy and Theodore are both in a state of misery, and both engage with their own OS in a way that makes us smile, because although they question if the relationships are real, their happiness from them is without a doubt authentic. 

The narrative unravels like a traditional love story, as Samantha and Theodore have their ups and downs.  The world Jonze has created shows us our isolation as individuals in society, but he doesn’t disapprove or applaud.  As Samantha grows and evolves into a different version of her self every second, we wonder how this relationship can continue.  Easy to see looking on from the outside, but we all have a very intimate relationship with our technological devices these days, and once you look at your smartphone while walking out of the theater you might wonder how precious it is to you.

The Beast in the East

The Beast in the East
While big summer transfers; Gareth Bale, Neymar and Mesut Özil have been good fits at their new clubs, halfway throughout the season there is no doubt Manchester City have gotten the most for their money with Álvaro Negredo.

Blues in Bavaria

Manchester City looked for revenge in Bayern's arena on Tuesday
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The Hunger Games: Catching Fire review

The Hunger Games: Catching Fire - Lionsgate
Runtime: 146 minutes
Directed by Francis Lawrence
Written by Michael Arndt, Suzanne Collins and Simon Beaufoy

The Hunger Games: Catching Fire - ★★★

By Nate Davis

When I saw the first installment of The Hunger Games I went with a date.  Upon arriving at the theater I was asked what film we were going to see.  I responded with, “The Hunger Games.”  She replied with, “Is that a weight-loss movie?”  A legitimate question if one hadn’t heard of the books or seen a commercial in the three months leading up to its opening.  Unfortunately, I can only say that I returned her question with laughter, and I’m sure this made her feel as awkward as our night out became.  It ended early and I’m assuming with her forgetting me as quickly as I was hoping to forget the film.  I was not a fan, however, the recently released sequel, Catching Fire, left me doubting my premature judgment on the series. 

The first two-thirds of the film are quite predictable, but it is the finale that leaves you wanting more.  The final third is not executed to perfection mind you, but the strength of the perception shifts are enough to make this film rise above the average clutter of most blockbusters.  Jennifer Lawrence makes do with the reluctant and stubborn hero, Katniss Everdeen.  After winning the previous year’s Hunger Games, she is forced to conduct a tour with fellow winner and District 12 resident, Peeta Mellark (Josh Hutcherson).  Her love interest, Gale Hawthorne (Liam Hemsworth), is not fond of this situation as Katniss and Peeta won the Hunger Games together by pretending to be in love. 

Regardless of the characters’ internal objections to this the show must go on, at least according to President Snow.  The leader of the dystopian and futuristic nation of Panem, is played by Donald Sutherland, and he conveys to Katniss that she and Peeta must serve as a distraction to the other districts as revolution is being whispered amongst their citizens.  While on the tour, the two fail to impress Snow and under the counsel of his new game-maker, Plutarch Heavensbee (Phillip Seymour Hoffman), the president decides to make this 75^th Hunger Games a Quarter Quell edition.  Previous winners from each district are selected, and only naturally Katniss and Peeta are the chosen tributes from District 12.  Thus the games begin.

Having over twice the budget from the first film, Catching Fire, relives some of the introductory moments with even more flair.  This works in some ways, and not so much in others.  The long shots of the scenery and special effects are wonderful in this film, especially in a scene where Katniss’ dress burns up in flames.  However, everything in the capitol, including the supporting characters residing in it, seems mostly from a bad Tim Burton film.  The costumes and makeup are too eccentric that it made me roll my eyes.  However, that isn’t to say those actors in the silly costumes and makeup aren’t exceptional.  Elizabeth Banks is wonderful as Effie, and shows her allegiance and fondness towards Peeta and Katniss even behind her masks.  Stanley Tucci is again great as the annoying host of a celebrity show that features the Hunger Games participants.  Despite being over-the-top in the design categories, there are more pros than cons in Catching Fire. 

Lawrence does well to hold the film together as Katniss, although the range of the role is pretty limited.  While the love interests of Peeta and Gale are given more lines and spotlight, the young actors are still not given much to work with.  The supporting roles are where this film shines.  Woody Harrelson returning as the drunken mentor of Haymitch is again wonderful as he guides us through again the politics of forging alliances and winning public relations battles.  Jenna Malone and  Sam Clafin are spot on in their performances of fellow tributes Johanna and Finnick. 

The real improvement of the film is through the directorial hand of Francis Lawrence.  He guides the film smoothly enough in the shaky early goings on of the film that we are left more interested in the politics and relationships built between the characters before than the games themselves.  He does well with the action, but some scenes obviously were there to please fans of Suzanne Collins’ novels.  The film is two hours and 30 minutes, and should have either been cut down by 20 minutes or shown more attention to the characters instead of the action.  The effects during the games are great and it does get the blood pumping, but I found myself wanting to know more about the new characters instead of their martial and survival abilities. 

Catching Fire is no doubt a much improved product compared to its predecessor.  There were many opportunities where it could have stumbled and suffered the fate many sequels do – not improving upon the original – but the pacing and smooth transition from scene to scene throughout its entirety make it worth seeing.  One can only hope that this director can improve even more on this series throughout the final two installments.

12 Years a Slave review

12 Years a Slave - Fox Searchlight
Runtime: 133 minutes
Directed by Steve McQueen
Written by John Ridley and Solomon Northup (book)

12 Years a Slave - ★★★★

By Nate Davis

“12 Years a Slave” is a kick to the stomach experience that shines a flashlight into the dark corner of American slavery.  Spanning over a decade, obvious from the title, Steve McQueen’s latest film is another snapshot of human beings trapped within their own bodies, this time literally in bondage, and the effect is profoundly disturbing and simultaneously captivating.  The engrossing facet of McQueen’s film is “Slave” makes no attempts to reconcile.  

Based on Solomon Northup’s bestseller of the same title, Steve McQueen (like his previous work “Hunger”) doesn’t hold our hand, but rather pushes us into this world that is unfortunately true.  Many films have the title overlay of “based on a true story” before the narrative begins, but “12 Years a Slave” is so well done that instead of asking, “how could this happen?” we ask “why did this happen?”  It is easily the greatest film about American slavery, but that isn’t McQueen’s intention.  His goal was to show the worst part of our history, by making you feel actively apart of it.

Led by a strong performance from Chiwetel Ejiofor playing the protagonist Solomon, we are introduced to him already in bondage.  Shortly after we flash back to his life with his family in Saratoga Springs, New York, where he is a free man that is respected within the community as a talented violinist.  He has two young children and a wife as well, and he is presented with a opportunity to make extra money performing in the nation’s capitol, and like most men with a family, he wants to provide as much as he can for them.  His supposed employers get him drunk, and Solomon wakes up chained in a basement dungeon.  The camera pans up from him meekly calling out for help to put the white house center frame, an obvious intention of McQueen.

Solomon is taken by boat south and renamed “Platt” despite his objection.  He is sold to a Mr. Ford in an auction house where we see mothers torn from their children.  Ford, played by Benedict Cumberbatch, seems to have some modicum of kindness towards Solomon in this terrifying and foreign world.  Ford recognizes the intellect and talent in Solomon and shows favor to him in giving him gifts and taking his advice over the overseer Tibeats.  However, Solomon is quickly reminded by a fellow slave that Ford is and always will be a slave-trader.  Although Ford invites slaves to mass and is kind in conversation, he quickly removes slaves he deems inconvenient at the drop of a hat.  Tibeats, played disgustingly well by Paul Dano, is a slimy and jealous man, who finds Solomon’s intelligence threatening.  Solomon is provoked to a boiling point by Tibeats and reacts physically, throwing the overseer to the ground, hitting him with a whip.  Solomon is then tied up with a noose at his neck by Tibeats and other whites and is left barely able to touch the muddy ground with his toes in order to stay alive.  It is arguably the most striking and disturbing image of the film, as other slaves casually go about their day with Solomon barely holding onto life.  Ford returns and cuts Solomon down, but has to sell him off in order to avoid more altercations between Solomon and Tibeats.  

Solomon is sold to Edwin Epps, a slave master who prides himself in breaking the will of slaves.  Michael Fassbender plays Epps with a tour de force performance.  Epps is an alcoholic, envious and lustful man, who hides behind scripture to commend his actions.  One of the more disgusting scenes is when Epps drunkenly wakes up Solomon and other slaves in the dead of night to dance for him and his wife at night.  We then see that Epps fancies one of his slaves, Patsey, played by newcomer Lupita Nyong’o.  He comes to her at night and rapes her at his own pleasure.  His obvious affection for her causes jealously to arise in Epps’ wife, played by Sarah Paulson.  

By the time the messiah-like figure of Bass enters the picture, played by Brad Pitt (whose company produced the film as well), Solomon’s soul seems to have drifted out of him.  We see Patsey come to him with a request to drown her and rid her of the terrible life she has.  Solomon is further plunged into the awfulness of being under the shadow of Epps.  Epps sees Solomon as threatening as well and comes close to killing him several times.  There is a moving scene where we see Solomon lose all faith and hope as he joins the other slaves singing “Roll Jordan, Roll” at a burial of another slave.  Epps and the cruel world of slavery has broken him.  

Ejiofor’s performance coupled with McQueen’s vision brings us one of the best pictures of the year.  It isn’t melodramatic, even though we know Solomon will return to tell his story at some point, based on the fact a book was written with the title “12 Years a Slave.”  There aren’t happy moments to celebrate by the end, there are only horrors that put the topic of slavery into the foreground of our thoughts that stay days after the film ends.  While Solomon’s story is one of a slave that was returned to freedom, we are left thinking about all the others that had to spend their entire lives in that cruel Hell.

Rap Corner

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