But, what're you gonna do?
I've seen three movies in the last week, all of which deserve at least a small mention on the blog. And, there are more movies coming out tomorrow. Something has to be done, dear reader. And, this is the only solution I can think of.
St. Vincent ***
This is a movie made for Bill Murray fans (and, really, who's not a Bill Murray fan?). If you've seen the trailer, you know the premise and you can probably figure out the ending. Still, the journey -- predictable as it may be -- is worth the ride.
Murray stars as Vincent, a drinker, smoker, and gambler who sleeps with a pregnant hooker (played by Naomi Watts). He's in debt to bookies, his bank account is overdrawn, and, for some reason that we don't learn until later in the movie, he is in desperate need of money.
Enter a new family next door, including the soon-to-be-single mother Maggie (played by Melissa McCarthy) and her precocious son Oliver (played by newcomer Jaeden Lieberher). Through all-too-cute circumstances, Vincent starts to bond with the boy, and, even though no mother in real life would ever think of doing so, Maggie agrees to pay Vincent to watch her son after school.
The lame setup aside, St. Vincent is a terrific showcase for Murray's talents both as a comedian and, later in the film, a semi-dramatic actor. It's weird to think that Murray hasn't taken on a leading role since Broken Flowers, nine years ago. Since then, he's had the occasional supporting turn, usually in Wes Anderson films. It's nice to have him back in the spotlight.
In a less competitive year, the performance would have an outside shot at an Oscar nomination. This year, however, the field is just to crowded.
Like I said, this is a movie for Bill Murray fans. If you like Mr. Murray, you'll like St. Vincent.
Fury **1/2
There's nothing really wrong with Fury. And, there's a fair amount to appreciate. It just feels like it's all been done before. And, unlike the movie reviewed above, there's not a single character, performance, or action sequence that sets this movie apart.
The movie tells a one-day story about life inside a U.S. Army tank. Stoic, yet charismatic leader? Check. Lots of southern accents? Check. Entirely too innocent newcomer to the unit? Check.
Every character is given a single dimension and they never, ever deviate from it, which isn't a fatal flaw, but it robs the movie of something every great war movie needs: an emotional core. The movie instead relies on its action sequences and little else. And, truth be told, most of those sequences are competently staged and a few of the moments -- particularly those set during the climactic crossroads battle -- are downright thrilling.
But, like I said, it's all been done before. And, in a lot of cases, it's been done much, much better. Still, Fury is worth seeing if war movies are your thing. Just moderate your expectations a bit and you'll likely enjoy the film.
Whiplash ***1/2
Whiplash is, quite simply, one of the best movies of the year so far. Set in a world inside a fictional music school, the film artfully tells a fable about the price of perfection and the impact of obsession. It's got a kinetic energy to it that just doesn't let up until the closing credits start to roll.
Miles Teller (whose career is currently on a crazy upward trajectory) stars as Andrew Neiman, a jazz drumming prodigy who is not satisfied with being great, he wants to be "one of the Greats." And, J.K. Simmons (one of the best character actors in the game) plays his teacher, who is more like sadistic drill sergeant than an educator. The movie succeeds, in large part, on the strength of these performances and the exceptional interplay between the the two characters.
Teller has a gift for giving off sort of a cocky vulnerability, and it's in full force here. Even when he's being a jerk, you always feel for him. And, when he pushes himself beyond his limits -- whether it's for himself or for his teacher -- you feel his pain. He's a star in the making.
Simmons is, pardon my French, doing some next-level shit in this movie. Give him the Best Supporting Actor Oscar now. He is ferocious and terrifying, oozing both charisma and shocking sadism out of every single pore. It's like he's been building up his anger after years of playing goofy, lovable sad sacks and decided to release every bit of anger and frustration into this performance. It's a sight to behold.
The music, the vibe, and just the overall feel of this movie click the whole way through. True enough, the story takes at least one somewhat unrealistic turn, but, by that time, I was too into it to care. This is a really, really cool movie.
