Silver Linings Playbook

Silver Linings Playbook was one of my most anticipated movies of 2012. Naturally, I had to wait two months after its nationwide release date for it to make it to West Virginia, but thankfully it was worth the wait. It is definitely the funniest movie of the year and possibly the sweetest. It would be easy to categorize Silver Linings Playbook as a quirky love story with a happy ending, but it's so much more than that. The film, adapted and directed by David O. Russell, is also a thought-provoking look at family, relationships, and mental illness.
The protagonist, Pat, expertly played by Bradley Cooper (proving he deserves to be known for more than the various incarnations of The Hangover), is a man striving to achieve his silver lining. Over the course of the film, the many forces he is struggling against are gradually revealed. In fact, I think this was one of the strongest elements of the film. It almost starts in the middle of the story and piece by piece the beginning is unfolded to the audience--not just Pat's, but Tiffany's as well.
Tiffany is a magnificent character and Jennifer Lawrence is brilliant in the role. She has a tough as nails exterior masking an incredibly vulnerable woman who is desperately trying to make sense of her life. In Pat, she finds a kindred, messed up, human soul and thus begins their unique story, which is an absolute pleasure to watch.
Favorite moments include Pat's rant against Ernest Hemingway's A Farewell to Arms at 4am and all of Chris Tucker's scenes (so nice to see him bounce back from Rush Hour 3 so well). Less than perfect moments: I wish Julia Stiles had gotten a bit more screen time. Her character's marriage could've been explored a little deeper, but the film is very focused on the central couple. On that note, I'm not sure Jacki Weaver deserved her nomination for Best Supporting Actress. Not that her performance wasn't lovely and heartfelt, because it certainly is, but her character doesn't have much of an arc. She and De Niro play Pat's parents and they have roughly the same amount of screen time, but Pat Sr. has so much more depth. Understanding him is crucial to understanding Pat. De Niro, by the way, is beautiful in the role (he was apparently very moved by the script).  There is also a moment of direction at the climax of the film that took me out of the realism of the film, which unfortunately lessened its effect for me. However, all in all, this is definitely a movie I look forward to owning.

Zero Dark Thirty

Everyone is entitled to their own politics and opinions, but Zero Dark Thirty isn't a propaganda film either way. It is not a movie about torture or the war on terror or any president. This is a film about one woman who dedicates herself completely for years on end to a single goal: locating Osama bin Laden (UBL). Zero Dark Thirty follows Maya, brilliantly played by Jessica Chastain, from her arrival in Pakistan throughout her dogged manhunt to its familiar conclusion and more importantly, it examines the cost. Maya is tough, persistent, brilliant, honest, and fearless. She has no romantic partners, no family; she makes a friend only to lose her to a suicide bomber. The pivotal moment in the film isn't the death of UBL. It's Maya's response to the Director of the C.I.A. when he asks her what else she's done for the agency. "Nothing. I've done nothing else." For almost a decade, she's done nothing else. The emotional and physical stamina of this woman is incredible. The whole film leads up to the final image, not of celebration, but of grief.
Chastain is a star. If you didn't already know this from her breakout year in 2011 or her Golden Globe win this past weekend, allow me to assure you. She is the real deal. There are several strong supporting actors in this film as well, including Joel Edgerton and Chris Pratt (doing serious work!) as SEALs and Jason Clarke and Jennifer Ehle as fellow Agents. Kathryn Bigelow's direction is excellent, balancing the tense and violent with the calm and, at times, beautiful. I think she was robbed of an Oscar nomination. In fact, Zero Dark Thirty might get my vote for Best Picture (whether or not The Academy agrees is another story). This is a film that really sticks with you, for days after you've left the theater. Inevitably, this will be a film that continues to divide audiences, but if you like strong female characters, contemporary story lines, and thought-provoking direction, I think this is the best film you'll see for a while.

Django Unchained

If we're going to talk about a Quentin Tarantino flick, I might as well say upfront, I'm not a fan of his work. I didn't like Pulp Fiction; the ratio of violence to plot in that movie is horribly lopsided. So, going into the theater, here's what I expected from Django Unchained: a lot of people would get shot, there would be blood everywhere, Samuel L. Jackson would drop a few of his trademark curses, and Leonardo DiCaprio would die magnificently. I got all of that. I also laughed. That I did not expect. There's a scene in which a KKK-like mob have some trouble with their hoods (bags with cut-out eye holes) that actually reminded me a bit of Blazing Saddles. In fact, several moments in the first hour or so of the movie have that feeling--it's a Western that pokes fun at Westerns--like when Django gets to pick out his own clothes for the first time and dresses himself in a bright blue outfit from the previous century or when he uses a snowman for target practice. 

Then, the film takes a striking turn as the hero begins in earnest his quest to rescue his wife, who's been sold to the sadistic plantation owner, Calvin J. Candie (Leonardo DiCaprio). The second half of the film is tense and the violence takes on a calculated viciousness. Leo steals the show here. Candie is unpredictable in his moods and draws complete attention, even when he shares the screen with Jackson. DiCaprio's been nominated for a Golden Globe for Best Performance by an Actor in a Supporting Role and in a less densely packed awards season he might win it, but I look for Tommy Lee Jones (Lincoln) to take it.

Also, nominated for a Golden Globe in the same category is Christoph Waltz, whose performance as Django's bounty hunter mentor Dr. King Schultz is zany and subtle in the perfect combination. Waltz is to Tarantino as Depp is to Burton. In other words, Waltz and Tarantino are the perfect actor/director team. They speak the same language, so to speak.

You may be surprised by my use of the words "subtle" and "Tarantino" in the same paragraph. I certainly was, but the best moments of this film were subtle and suspenseful. Particularly Jamie Foxx, who could've played Django just as a vengeful former slave in a country on the brink of war, but there is a lot more going on behind his eyes that is beautifully expressed in every perfectly framed shot. This is especially important since Django is more of the strong, silent type, like the D in his name. (Although, when he does talk, Foxx delivers his zingers with depth.) 

This film was full of surprises, including several surprise appearances by everyone from Tom Wopat to Jonah Hill. Those two were lovely in their roles, but I did spend a good minute wondering what Amber Tamblyn was doing looking out a window, and then never saw her again.

All in all, I enjoyed this film. It is quite long and could've used a little more editing and if you don't enjoy walls literally dripping with blood, this isn't the film for you. It is, however, a legitimately interesting film. If there's a message, I'm not sure what exactly it is (as one never is with Tarantino), but I think there are some thought-provoking moments. It will be interesting to see if this movie, like the original Django, spawns a wealth of sequels/knockoffs. If so, I'd like to coin the term for the genre now (and I hope I'm the first to do so): Hip-Hop Western.